본 논문은 국제적인 활동을 펼치고 있는 일본의 무라카미 타카시와 중국의 차이 궈창이 전략 적으로 스스로의 ‘타자성’을 부각시키는 작품을 통해 해외 진출을 성공적으로 이룬 과정을 살피고 있다. 이는 에드워드 사이드가 말하는 오리엔탈리즘이 서양의 동양에 대한 통제 일뿐 아니라 동양 이 서양의 시각을 내재화시키는 측면이 함축됨을 보여주고 있다. 무라카미의 경우 미국진출을 염 두에 두면서 그 전까지의 시사적 작업에서 멀어지고, 현대일본의 특수층의 취미문화라 할 수 있는 오타쿠와 관련된 이미지들을 제작, 발표한다. 차이는 중국 미술계의 디아스포라라는 대대적인 이 주의 시절에 일본으로 이동하여, 중국의 4대발명품으로 일컬어지는 화약을 사용한 작업으로 자신 의 특수성을 각인시키는데 성공한다. 두 작가의 경우 모두 스스로가 개척해온 ‘타자 이미지’의 초 월을 통해 비로소 동양인 국제파 작가에서 단순히 ‘국제적’ 작가로 재인식될 수 있을 것이다.

村上春樹は作品の中に多様なジャンルの音楽を登場させている。彼に とっての音楽とは、単にバックミュージックではなく、祭祀的な性質を 持つものとして、作品の中で大きな影響力を持つものである。しかしな がら、音楽に重点を置いた研究は十分ではなく、現在、音楽をキーワー ドとした研究のほとんどは、音楽の登場する状況や登場人物たちの心理 に視点を置いたものである。 本稿では、音楽が登場人物と直接的に関連している『1Q84』を中心として、 何故村上春樹が特定の音楽を登場させたのか、登場人物とはどのような関わ りを持つのか、曲が作曲された背景や、その曲に込められた作曲家のメッ セージなどに重点を置き考察する。考察を通して作品の奥底に隠されている 村上春樹のメッセージや、登場人物たちの心理を分析することを試みる。

Yeats and Murakami are writers who believe in spirits. They both treat them as if they are real. Yeats's Purgotory is a story of Father and Son, Father killing his own son to disrupt the cycle of Life that is tainted, whereas Kafka on the Shore is a story of Mother and Son, Mother causing all the tragedies in Kafka's father, sister, and himself. Kafka's mother is a person of Memory that stays constant, which is the origin of all the tragedies, and refuses to flow with time; and Son intervenes in her Fate, changing her and himself. The leitmotif of the novel is the Oedipus complex. In the meantime, Purgatory is a practice of Yeats's religious system of Life and humanity. In the play, the two kinds of people are illustrated by Father and Son; Father can see the invisible, ghosts, but Son cannot. The play is based on the conception of souls being born again and again in endless cycles. To disrupt it Father kills his own Son, as he had killed his own Father. It is beyond the moral of the world, killing his own son, following his own belief. Both works could be read as a metaphor of life. One relies on psychology, and the other relies on mythology. Murakami may have read Yeats, and Yeats might be interested in Murakami if he lived and read him. Murakami is in a position to deal with this kind of subtle subject in a subtle way, because he is a writer of the East well versed in the West. In the same way, Yeats was in a unique position, who was familiar with things eastern. Hence, their works manifest strong inclinations toward mysterious milieu, most prominently what is supernatural.

The aim of present work is to link geometrical parameter of maximum area of structural defect (proposed by Y. Murakami, 1983) with surface fatigue mechanisms. Determined relations allow making predictions of surface fatigue properties of cemented carbides (WC-Co hardmetal - H15 - 85wt% WC and 15wt %Co, TiC-based cermets - T60/8 - 60wt %TiC and Fe/8wt% Ni and T70/14 - 70wt %TiC and Fe/14wt% Ni) in conditions of rolling contact and impact cycling loading. Pores considered being equivalent to small defects. Three comparative defects conditions are distinguished: surface pore, just below free surface and interior pores. The Vickers hardness of binder (as main responsible for the fracture mechanism of hardmetal and cermets) assumed to be the basis of such assumption. The estimate of this prediction has been done by analyzing the pore sizes using the statistics of extremes. The lower bound of fatigue properties can be correctly predicted by considering the maximum occurring pore size.