论石黑一雄小说中的义利观

道德是石黑一雄小说引而不发的文化印记。义利之辩是解开石黑一雄小说人性迷思的理性线索,也是其文学演绎中含而不露的创作旨归。小说《我辈孤雏》《长日将尽》《浮世画家》的共通主题渗透着作家对利益与道德间逻辑交互的理性观察与立场阐发。孤儿班克斯的身世之谜、管家史蒂文斯的职业之困、画家小野的择婿之忧背后,不仅是对重利盘剥、奉主忘己、射利沽名等道德危殆、伦理错位的修辞投射,也是石黑一雄对殖民语境下人类社会正义赤字、情义失衡、道义博弈的道德警示。总之,石黑一雄小说中的义利观始于恻隐之心,敬于契约之道,终于家国大义,书写路径呈现出跨文化的动态间性特征。

The Outlook on Justice and Shared Interests in Kazuo Ishiguro's Novels

The argument between justice and interests is not only the rational clue to unravel the myth of human nature in Kazuo Ishiguro's novels, but also the implicit philosophy in his literary interpretation. The common theme in When We Were Orphans, The Remains of the Day, and An Artist of the Floating World is permeated with the writer's rational observation and elaboration of his stance on the logical interaction between profits and morality. Behind the mystery of the orphan Banks' unknown parentage,the professional plight of the butler Stevens,and the anxiety of the painter Ono's selecting a worthy husband for his daughter, there are not merely the rhetorical insinuations of moral crisis and ethical dislocation such as the exploitation for huge profits,self-denying devotion to masters,and fishing for fame and gain,but also the moral warning by Kazuo Ishiguro against the absence of justice, the imbalance between love and duty, and the game between morality and justice in the colonial context. The analysis reveals that Ishiguro's outlook on justice and shared interests originates from his sense of compassion and follows contract spirit and finally amounts to national interests, and his writing is characteristic of a dynamic interaction between cultures.