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    請使用永久網址來引用或連結此文件: https://tkuir.lib.tku.edu.tw/dspace/handle/987654321/110653


    題名: 鏡花戯曲における衝突と和解 : 『夜叉ヶ池』『海神別荘』『天守物語』を中心に
    其他題名: 泉鏡花戲曲中之衝突與和解 : 以《夜叉之池》《海神別莊》《天守物語》為中心
    Conflict and reconciliation in Izumi Kyoka's drama : focusing on "Yasyagaike", "Kaijinbessou" and "Tensyumonogatari"
    作者: 吳彔瑾;Wu, Lu-Jin
    貢獻者: 淡江大學日本語文學系碩士班
    曾秋桂;Tseng, Chiu-kuei
    關鍵詞: 泉鏡花;戲曲;異人;衝突;和解;死亡;再生;Izumi-Kyoka;drama;Conflict;reconciliation;death;rebrith;戯曲;
    日期: 2016
    上傳時間: 2017-08-24 23:32:33 (UTC+8)
    摘要:   本論文設定三個課題,探討泉鏡花於大正時代中發表的三篇戲曲《夜叉之池》、《海神別莊》與《天守物語》當中的衝突與和解要素。論文全篇分為四章進行考察。第一章至第三章分別針對《夜叉之池》、《海神別莊》與《天守物語》當中出現的人物衝突與和解進行論述。第四章則針對三作內容的異同與當中共同出現的「異人」元素進行分析。
      第一課題以衝突與和解為中心,各別探討三部作品中引發衝突的要素,並分析作品中人物達到和解的理由。藉此得出了三部作品中所產生的衝突,皆是由價值觀的差異所引發的結果。而最終也是由於價值觀的同化而達成了人物的和解。而三作當中的和解形式,也並非是兩種不同價值觀相互理解的型態,而是以象徵救贖與自由的異界單方面接受了離開代表負面價值觀的現實世界的人們。
      第二課題以「異人」為中心,分析「異人」元素在三部作品中代表的意涵。藉此得出除了被設定為神怪的「異人」角色是為了表達作者鏡花所讚揚的價值觀外,人類方中符合「異人」分類的角色則是成為作者所想批判的負面價值觀下的犧牲者,經由其遭遇達到價值批判的目的。
      第三課題以三作的結局為中心,分析三作中人物的死亡所象徵的意義。藉此得出迄今為止在鏡花作品中象徵失敗的死亡,在這三篇戲曲當中經由前往異界的安排,被轉換成為再生與勝利的象徵。由此能夠得知在大正時代鏡花藉由戲曲創作,在社會批判的同時也為作品中出現的死亡給予了與以往不同的意義。
    This article concentrates¬ on the element of conflicts and reconciliation of "Yasyagaike", "Kaijinbessou", and "Tensyumonogatari" of Izumi Kyoka’s drama in Taisho period. This article is divided into four chapters. The first three chapters discuss the conflict and reconciliation of the character in these three dramas. The final chapter focus on the common element in these dramas Stranger.
    The first topic is discussing the element of conflict and reconciliation between characters in "Yasyagaike", "Kaijinbessou", and "Tensyumonogatari" individually. Through these stories, it sums up that the conflict between these characters is causing by the different values and a reconciliation with the values of convergence. In these three stories, the process of reconciliation is the otherworld which is symbol of freedom and redemption unilaterally accept the people who leave from the realworld which symbol of negative values.
    The second topic is centred on the Stranger, analyzing the meaning ¬¬¬¬of Stranger in these dramas. In order to achieve the goal of criticizing, the values which is praised by Izumi Kyoka is the Stranger of the otherworld side but not the realworld side.
    The third topic focuses on the end of these three stories, analyzing the meaning of the characters’ death in the drama. In these dramas, through by the process of the Stranger leave the realworld to the other world, Izumi Kyoka transformed the meaning of death from the failture into rebirth and victory. It conclude that in Taisho period, Izumi Kyoka not only criticized the society by creating the drama but also gave the different meaning for the death.
    顯示於類別:[日本語文學系暨研究所 ] 學位論文

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