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Haruki Murakami: Verskil tussen weergawes

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''[[Killing Commendatore]]'' (''Kishidancho Goroshi'') is Murakami se mees onlangse werk. Dit is op 24 Februarie 2017 in Japan gepubliseer en in Oktober 2018 in die Verenigde State . Die werk se genre is historiese fiksie, en dit het kontroversie in Hong Kong veroorsaak. Die roman was in Hong Kong geklassifiseer as "Klas II - onwelvoeglik".<ref>{{cn|date=October 2018}}</ref> Die klassifikasie het gelei tot 'n groot aantal gevalle van [[Sensorskap]].{{cn|date=October 2018}}
 
==Writing styleSkryfstyl ==
Die meeste van Haruki Murakami se werke maak gebruik van [[Eerstepersoons-vertelling]] in die tradisie van die Japannese [[I Roman]]. Hy konstateer dat omdat familie 'n beduidende rol speel in Japannese literatuur, enige hoofkarakter wat onafhanklik is 'n man word wat vryheid en eensaamheid verkies bo intimiteit.<ref name=theparisreview.org </ref>
{{or-section|date=June 2014}}
Most of Haruki Murakami's works use [[first-person narrative]] in the tradition of the Japanese [[I Novel]]. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy.<ref name=theparisreview.org /> Also notable is Murakami's unique humor, as seen in his 2000 short story collection, ''[[After the Quake]]''. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached.{{citation needed|date=September 2014}} Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake.<ref name=theparisreview.org />
 
Ook merkbaar, is Murakami se unieke sin vir humor, soos gesien in sy kortverhaal versameling van die jaar 2000 , ''[[After the Quake]]''. In die storie "Superfrog Saves Tokyo", word die protagonis gekonfronteer met 'n 6-voet lange padda wat gesels oor 'n koppie teen gesels oor die vernietiging van Tokio. Ten spyte van die storie se sobere trant, voel Murakami dat die leser vermaak moet word wanneer die erns van die onderwerp eers aangeraak is.<ref>Verwysing word benodig|datum=September 2014}}</ref> 'n Ander merkbare eienskap van Murakami se stories is die kommentaar wat afkomstig is van die hoofkarakters met betrekking tot hoe snaaks die storie homself presenteer. Murakami versuidelik dat sy karakters dir ondervind wat hy ondervind wanneer hy skryf, wat vergelyk kan word met 'n rolprentstel waar die mure en bekleedsel alles vals is. <ref> name=theparisreview.org </ref>
Many of his novels have themes and titles that evoke classical music, such as the three books making up ''[[The Wind-Up Bird Chronicle]]'': ''[[The Thieving Magpie]]'' (after [[Rossini]]'s opera), ''Bird as Prophet'' (after a piano piece by [[Robert Schumann]] usually known in English as ''The Prophet Bird''), and ''The Bird-Catcher'' (a character in [[Mozart]]'s opera ''[[The Magic Flute]]''). Some of his novels take their titles from songs: ''[[Dance Dance Dance (novel)|Dance, Dance, Dance]]'' (after [[The Dells]]' 1957 B-side song,<ref>Slocombe, Will (2004), [https://docs.lib.purdue.edu/clcweb/vol6/iss2/6/ "Haruki Murakami and the Ethics of Translation"] (doi: 10.7771/1481-4374.1232), ''CLCWeb: Comparative Literature and Culture'' (ISSN 1481-4374), [[Purdue University Press]], Vol. 6, Nr. 2, p. 5.</ref><ref>Chozick, Matthew Richard (2008), "De-Exoticizing Haruki Murakami's Reception" (doi: 10.1353/cls.0.0012), ''[[Comparative Literature Studies]]'' (ISSN 0010-4132), [[Pennsylvania State University Press]], Vol. 45, Nr. 1, p. 67.</ref> although it is often thought it was titled after [[the Beach Boys]]' 1964 [[Dance, Dance, Dance (song)|tune]]), ''[[Norwegian Wood (novel)|Norwegian Wood]]'' (after [[The Beatles]]' [[Norwegian Wood (This Bird Has Flown)|song]]) and ''[[South of the Border, West of the Sun]]'' (after the song "[[South of the Border (1939 song)|South of the Border]]").<ref>{{cite web|author=Chozick, Matthew|url=http://www.litencyc.com/php/sworks.php?rec=true&UID=12512 |title=The Wind-Up Bird Chronicle|work=[[The Literary Encyclopedia]]|date=August 29, 2007|accessdate=April 24, 2008}}</ref>▼
 
▲ManyBaie ofvan hissy novelsromans havebeskik themesoor andtemas titlesen thattitels evokewat classicalklassieke musicmusiek oproep, suchsoos asdie thedrie threeboek books making upwat ''[[The Wind-Up Bird Chronicle]]'' opmaak: ''[[The Thieving Magpie]]'' (afterna aanleiding van [[Rossini]]'s se opera), ''Bird as Prophet'' (afterna aaanleiding pianovan piece'n klavierstuk bydeur [[Robert Schumann]] usually known in English as ''The Prophet Bird''), anden ''The Bird-Catcher'' (a'n characterkarakter in [[Mozart]]'s se opera ''[[The MagicDie FluteTowerfluit]]''). SomeSommige ofvan hissy novelsromans takeneem theirhulle titlestitels fromvan songsliedere: ''[[Dance Dance Dance (novelroman)|Dance, Dance, Dance]]'' (afterna aanleiding van [[The Dells]]' 1957 B-sidekant songliedjie,<ref>Slocombe, Will (2004), [https://docs.lib.purdue.edu/clcweb/vol6/iss2/6/ "Haruki Murakami and the Ethics of Translation"] (doi: 10.7771/1481-4374.1232), ''CLCWeb: Comparative Literature and Culture'' (ISSN 1481-4374), [[Purdue University Press]], Vol. 6, Nr. 2, p. 5.</ref><ref>Chozick, Matthew Richard (2008), "De-Exoticizing Haruki Murakami's Reception" (doi: 10.1353/cls.0.0012), ''[[Comparative Literature Studies]]'' (ISSN 0010-4132), [[Pennsylvania State University Press]], Vol. 45, Nr. 1, pbl. 67.</ref> althoughalhoewel itdit isgespekuleer oftenword thoughtdat itvir wasvernoem titledis afterna [[the Beach Boys]]' se 1964 [[Dance, Dance, Dance (songliedjie)|tune]]), ''[[Norwegian Wood (novelroman)|Norwegian Wood]]'' (afterna aanleiding van [[The Beatles]]' [[Norwegian Wood (This Bird Has Flown)|songliedjie]]) anden ''[[South of the Border, West of the Sun]]'' (afterna theaanleiding van die songliedjie "[[South of the Border (1939 songliedjie)|South of the Border]]").<ref>{{cite web|author=Chozick, Matthew|url=http://www.litencyc.com/php/sworks.php?rec=true&UID=12512 |title=The Wind-Up Bird Chronicle|work=[[The Literary Encyclopedia]]|date=August 29, Augustus 2007|accessdate=24 April 24, 2008}}</ref>
Some analyses see aspects of [[shamanism]] in his writing. In a 2000 article, Susan Fisher connected [[Japanese folk religion]] or Japanese shamanism with some elements of ''The Wind-Up Bird Chronicle'',<ref>Fisher, Susan (2000). "An Allegory of Return: Murakami Haruki's the Wind-up Bird Chronicle" ([https://www.jstor.org/discover/10.2307/40247241?uid=3738032&uid=2&uid=4&sid=21104204005317 JSTOR]), ''[[Comparative Literature Studies]]'', Vol. 37, No. 2 (2000), pp. 155–170.</ref> such as a descent into a dry well. At an October 2013 symposium held at the [[University of Hawaii]],<ref>[http://www.hawaii.edu/calendar/manoa/2013/10/31/22467.html?et_id=29748 "Traveling Texts: Reading Haruki Murakami Across East Asia"] at University of Hawai'i, Mānoa.</ref> associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism"<ref>{{cite web |url=http://ajw.asahi.com/article/special/HARUKI_MURAKAMI/AJ201312150006 |title=Haruki Murakami's themes of disaffected youth resonate with his East Asian fans |publisher=[[Asahi Shimbun]] AJW |date=December 15, 2013 |accessdate=August 12, 2014 |deadurl=yes |archiveurl=https://web.archive.org/web/20140808043831/http://ajw.asahi.com/article/special/HARUKI_MURAKAMI/AJ201312150006 |archivedate=August 8, 2014 |df= }}</ref> in Murakami's works.▼
 
▲SomeSommige analysesanalise seesien aspectsaspekte ofvan [[shamanismShamanisme]] raak in hissy writingskryfwerk. In a'n 2000 articleartikel, het Susan Fisher connected [[Japanese folkJapannese religionvolksgeloof]] orof Japanese shamanismshamanisme withgekonnekteer somemet elementssommige ofeienskappe van ''The Wind-Up Bird Chronicle'',<ref>Fisher, Susan (2000). "An Allegory of Return: Murakami Haruki's the Wind-up Bird Chronicle" ([https://www.jstor.org/discover/10.2307/40247241?uid=3738032&uid=2&uid=4&sid=21104204005317 JSTOR]), ''[[Comparative Literature Studies]]'', Vol. 37, No. 2 (2000), pp. 155–170.</ref> suchsoos asdie aafgaan descentin into'n adroë dry wellwaterput. AtTydens an'n OctoberOktober 2013 symposiumsimposium heldgehou atby thedie [[UniversityUniversiteit ofvan Hawaii]],<ref>[http://www.hawaii.edu/calendar/manoa/2013/10/31/22467.html?et_id=29748 "Traveling Texts: Reading Haruki Murakami Across East Asia"] at University of Hawai'i, Mānoa.</ref> associatehet die assosiaat professor ofvan Japannees, Japanese Nobuko Ochner, die mening opineduitgespreek "theredat weredaar manybaie descriptionsbeskrywings ofwas travelingvan reis in a'n parallelparallelle worldwereld sowel as wellkarakters aswat charactersietwat whovan have'n somekonneksie connectionmet toshamanisme shamanismhet.""<ref>{{cite web |url=http://ajw.asahi.com/article/special/HARUKI_MURAKAMI/AJ201312150006 |title=Haruki Murakami's themes of disaffected youth resonate with his East Asian fans |publisher=[[Asahi Shimbun]] AJW |date=December 15, 2013 |accessdate=August 12, 2014 |deadurl=yes |archiveurl=https://web.archive.org/web/20140808043831/http://ajw.asahi.com/article/special/HARUKI_MURAKAMI/AJ201312150006 |archivedate=August 8, 2014 |df= }}</ref> in Murakami's worksse werke.
 
== Erkenning ==
Ontsluit van "https://af.wikipedia.org/wiki/Haruki_Murakami"