截止目前，村上春樹最新短篇小說集《沒有女人的男人們》（2014.4文藝春秋出版）是最令人能嗅出濃濃夏目漱石氣息的作品集。除了作品中讀得出漱石的《三四郎》、《こころ》、《彼岸過迄》、《行人》的影子之外，達「木野」主角木野出外旅行的方向，也是跟漱石離鄉背井同樣的方位。特別是出現「兩義性」字彙最多的「木野」當中，有關扮演重要任務的蛇之「兩義性」的結構，若遵循デリダ所定義的「兩義性」來剖析的話，「木野」所擁有多重層次的小說結構，立即呈現。「木野」作品中不僅巧妙導八古代的世界神話中的「兩義性」又鋪陳八以嫉妒為主題的日本歌舞仗「蛇柳」。兩相襯托之下，上可追溯至與日本歌舞仗「蛇柳」有密切關聯的弘法大師（空海）的佛教中對於人性的認知，此可視為古層次。下可尋覓至漱石文學中的男人嫉妒物語，此可視為新層次。如此地一層鋪上一層地堆砌出多重層次小說結構。為何村上春樹要將漱石相關元素放入其來創作呢？村土春樹本意在於透過如此的作為，讓「木野」蛻變成複雜的複雜多重層次小說結構的男人嫉妬物語，挑戰創作小說的高度技巧。且在此作品中超越時空展開與漱石文學的對話。 Soseki's shadow is felt clearly in Haruki Murakami's latest short novel collection 'Onna no inai otokotachi' by me. Soseki's 'Sanshiro', 'Kokoro', 'Higansugimade', and 'Kojin' have appeared in these works. Moreover, the direction of route of which hero Kino of ＂Kino＂ went out to travel is equal to the provinces where Soseki went out. This thesis analyzed the structure of ＂Ambiguity＂ around the snake that is playing an important role on ＂Kino＂ from the view point of ＂Ambiguity＂ that Jacques Derrida had defined. Then, the multilayer story world of ＂Kino＂ was clarified. The story of ＂Kino＂ has skillfully taken ＂Ambiguity＂ with the origin in a worldwide ancient myth. This work takes Kabuki ＂Jyayanagi＂ of Japan that assumed envy to be a subject at the same time. In addition, this story has Buddhism recognition about human being which is deeply related ＂Jyayanagi＂ and Kobodaishi in stratum of old meaning in story. There is envy stories of man from Soseki literature in the stratum of a new meaning in the story. Thus, this work is the world of a multilayer story that makes variation in variation repeatedly. The real intention of Haruki Murakami who talks with the Soseki literature exceeding the time-space is put in routines of Haruki Murakami who takes a lot of related elements from Soseki.