水上勉是著名的日本现代作家，出身“里日本”，凭借其漂泊放浪的人生感受，以及特殊的“越境”体验，获得了敏锐的空间感知，构筑了独具特色的空间叙事。迄今的相关研究可以大致分为女性形象、佛教思想、故乡与乡土、社会问题和中国题材五个方面，却很少关注水上文学中空间场景的刻画、不同空间的大跨度移动的铺陈，以及渗透着浓厚的“里日本”文化的空间意象描写与人物的心理变化、命运走向，及其身份认同困境的密切关联，也缺少在深层次上思考先行研究五个方面的内在联系，因此难以全面深刻把握水上文学的独特性和价值意义。本论文以空间叙事等理论为支撑，从“里日本”视角深入探析和挖掘水上文学的特质。全文共分以下七个部分：

序章梳理先行研究，界定“里日本”概念，并阐明以此作为研究视角的理由。本论文认为，“里日本”这一自然地理空间聚焦了深刻的社会问题，是一个承载着对日本近代化发展的“内殖民”与海外扩张的批判与反思的政治地理空间。

第一章结合水上勉的生平阐明其“里日本”空间叙事的生成历程：首先是根植于“里日本”的空间体验，然后是觉醒于京都的空间发现，诞生于东京的空间叙事，而长野北御牧村和沈阳则是水上深度思考“里日本”未来发展之路的空间场域。

第二章以《雁寺》四部曲为中心，探讨主人公慈念在探寻身世之谜的波折过程中数度往返于“表”“里”日本的空间移动含义，揭示“里日本”具有象征意义的空间符号——“弃婴坑”等隐喻了“弃子”的悲惨命运，以及与“父亲不在场”、“里日本”的贫穷落后等有着密不可分的关系。其反映了水上勉对日本近代化发展存在的严峻社会问题的深入思考。

第三章以《孤独的盲歌女》为中心，以盲歌女为对象，运用文学地图研究方法，在文本细读的基础上，绘制集团盲歌女以及离群盲歌女的移动路线图，直观地揭示盲歌女艰辛坎坷的人生足迹，考察主人公阿琳在空间移动与“越境”中的思想变化历程。针对位于境界线上的“无人堂”等多义空间的叙事，探讨了水上勉对民俗文化、宗教信仰的思考，以及对日本传统家庭模式和女性命运的深刻反思。

第四章通过对《饥饿海峡》的分析，揭示“里日本”—“表日本”—北海道的多舞台空间联动，以及都市空间叙事与小说主人公京一郎、八重等人物塑造和走向犯罪之路的密切关联。解析了水上勉对“里日本”人参与北海道“内殖民”问题的深入思考，和对个体谋杀背后的社会病灶和国家犯罪的揭露。

第五章以中国题材作品《沈阳之月》等为对象，通过分析水上勉的暴力空间、间隙空间等空间叙事，揭示了侵华战争期间“里日本”人来到中国东北以殖民者身份肆意驱使中国人的问题。指出这些作品是以水上勉自身体验为基础创作的，反映了他对“里日本”的再发现与再认识，以及对日本近代殖民扩张历史的反思与批判。

终章从整体上总结了水上文学的空间叙事特征，揭示了从“里日本”的视角对水上文学研究的价值和意义。认为水上勉的“里日本”空间叙事，突破了“里日本”—“表日本”的二元对立框架，以不断移动和扩展延伸的视线，跨越国界，将中日、乃至东北亚的视域纳入思考之中，揭示了日本近代化发展进程中的严峻问题。

本论文从“里日本”视角探讨水上勉文学的空间叙事，不仅深入挖掘了其文学的复杂性和特殊性，而且也加深了对水上文学世界的理解，重新认识其在日本近现代文学中的位相。

Tsutomu Minakami is an important modern Japanese writer, born in “Uranihon”. With his wandering life experience, as well as his special "cross-border" experience, he gained a keen sense of space and constructed a unique spatial narrative in his literary world. So far, relevant research can be roughly divided into five aspects: female image, Buddhist ideology, hometown and local area, social issues, and Chinese themes. However, there is a lack of in-depth consideration of the internal connections between these five aspects, and little attention has been paid to the portrayal of spatial scenes, the display of large-scale movements in different spaces in aquatic literature, the description of spatial images permeated with a strong “Uranihon” culture, as well as the psychological changes and fate trends of characters. The close relationship between the identity dilemma and it is difficult to comprehensively and deeply grasp the uniqueness and value of water literature. Therefore, this paper borrows theories such as spatial narrative and runs through these five aspects from the perspective of “Uranihon”, in order to grasp and explore the characteristics of Tsutomu Minakami’s literature as a whole. The full thesis is divided into the following seven parts:

The preface of the paper sorts out the previous research, defines the concept of “Uranihon”, and explains the reasons for using it as a research perspective. This paper believes that the physical geography space of “Uranihon” focuses on profound social problems and is a political geography space that carries criticism and reflection on the "internal colonization" and overseas expansion of Japan's modernization development.

The first chapter elaborates on the generative process of the spatial narrative of “Uranihon” by combining Tsutomu Minakami’s life story. Firstly, it is rooted in the spatial experience of “Uranihon”, followed by the awakening of spatial discoveries in Kyoto and the birth of spatial narratives in Tokyo. Nagano Kitamimakimura and Shenyang are the spatial fields where Tsutomu Minakami deeply contemplates the future development path of “Uranihon”.

The second chapter is centered around the four parts of Gan No Tera and explores the spatial movement of the protagonist Jinenn. He repeatedly travels back and forth between “Omotenihon” and “Uranihon” during the tumultuous process of exploring the mystery of his life experience. It reveals the symbolic spatial symbols of “Uranihon”, such as "abandoned baby pits" , which metaphorically depict the tragic fate of "abandoned children" , their inseparable relationship with "the absence of his father" , and the poverty and backwardness of “Uranihon”. It is believed that it reflects Tsutomu Minakami’s reflection and criticism on the severe social problems that exist in Japan's modernization development.

The third chapter focuses on Hanare Goze Olin and takes the blind singer as the study object. Using literary map research methods based on close reading of the text, it draws the movement routes of group blind singers and isolated blind singers, intuitively revealing the difficult and bumpy life footprints of the blind singer. This chapter examines the ideological changes of the protagonist Olin in spatial movement and crossing. In response to the novel's narrative of polysemous spaces such as the "Mujinndo" located on the boundary line, this article explores the author’s reflections on folk culture and religious beliefs, as well as Tsutomu Minakami’s profound reflection on the traditional Japanese family model and the fate of women.

Chapter four, through the analysis of Kiga Kaikyo, reveals the multi-stage spatial linkage between “Uranihon”, “Omotenihon”, and Hokkaido, as well as the close relationship between urban spatial narrative and the portrayal of protagonists such as Kyoichiro and Yae, as well as their path towards crime. This chapter also examinesTsutomu Minakami’s in-depth thoughts on the involvement of “Uranihon” in the issue of "internal colonization" in Hokkaido, and exposes the social lesions and national crimes behind individual murders.

Chapter five focuses on Chinese-themed works such as Sinnyo No Tsuki and analyzes the narrative of the violent space, gap space, and other spaces of Tsutomu Minakami. It reveals the issue of “Uranihon” people coming to Northeast China during the War of Invasion and recklessly driving the Chinese people as colonizers.  It is pointed out that these works are created based on Tsutomu Minakami’s own experience, reflecting his rediscovery and re-understanding of “Uranihon”, as well as his reflection and criticism of Japan's modern colonial expansion history.

The final chapter summarizes the spatial narrative characteristics of Tsutomu Minakami’s literature as a whole, revealing the value and significance of studying Tsutomu Minakami’s literature from the perspective of “Uranihon”. The spatial narrative of “Uranihon” by Tsutomu Minakami breaks through the binary opposition framework of “Uranihon” and “Omotenihon”. With a constantly moving and expanding perspective, it transcends national borders and incorporates the perspectives of China, Japan, and even Northeast Asia into its thinking, deeply reflecting on the problems that exist in Japan's modern and contemporary development.

This thesis explores the spatial narrative of Tsutomu Minakami’s literature from the perspective of “Uranihon”. It not only delves into the complexity and particularity of Minakami’s literature, but also deepens the understanding of his literary world and re-evaluates its position in modern Japanese literature.