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|Title: ||森鷗外文学とロマン主義とのかかわり : 『舞姫』、『うたかたの記』、『文づかひ』を中心に－|
|Other Titles: ||森鷗外與浪漫主義的關連性 : 以『舞姬』、『泡沫記』、『信使』為中心－|
The relations between Ougai Mori with romanticism-concerning "Maihime", "Utakata no ki", and "Fumidukai"
|Authors: ||王尹均;Wang, Yin-chun|
|Keywords: ||森鷗外;浪漫主義;舞姬;泡沫記;信使;Ougai Mori;Romanticism;Maihime;Utakata no ki;Fumidukai;森鷗外;ロマン主義;舞姫;うたかたの記;文づかひ|
|Issue Date: ||2010-01-10 23:54:42 (UTC+8)|
|Abstract: ||森鷗外在留學德國時，大量地接觸了西洋文學。這個經驗想必與他在回國不久後便發表的『舞姬』、 『泡沫記』 、『信使 』之德國三部作有很大的相關性。因此，本論文以德國三部作和西洋文學的關聯為中心，兼述西洋浪漫主義與日本的浪漫主義的異同點，呈現德國三部作中所內含的西方文學影響。本論文主要分為五章論述森鷗外與浪漫主義的關聯性。第一章分析了『舞姬』、『泡沫記』、『信使』為森鷗外的文學起點，並確認了德國三部作附含西洋浪漫主義的色彩。第二章分析了西洋浪漫主義與日本浪漫主義，將西方和日本的浪漫主義歸結出自我情感、想像力、感情表現等三個本質。第三章分析了『舞姬』中男女主角的自我認知。男主角豐太郎的自我認知可分為尚未出現、確立、功名、罪人的四階段。女主角艾麗絲的自我認知可分為無法反抗、戀愛、意向堅定、憧憬破滅的四階段。男女主角在『舞姬』中的自我認知幾乎逆向而行，最後以「怨恨」作結。第四章從作者以及讀者的立場，分析『泡沫記』的想像。作者賦予女主角瑪麗賣花女、模特兒、狂人、雅典娜、羅蕾萊、母親、螢火蟲、泡沫等多重角色，將人物設計的想像發揮到極點。此外，『泡沫記』中大量地使用了表達日本傳統美意識的詞彙，透過這些多義性的語詞，讓讀者能充分地玩味，擴大了讀者對故事的想像空間。第五章分析了『信使』的感情表現。女主角依達在不同時期對未婚夫、愛慕者、小林軍官展現了不同的情感變化。男主角小林軍官在與和女主角依達相處期間，其情感轉變依序為好奇、理解、同情。通過以上五章的分析，驗證德國三部作確實和浪漫主義的本質相符。|
During studying abroad in Germany, Ougai Mori kept in touch with occident literature. These three works, “Maihime”,”Utakata no ki”, and”Fumidukai”, published after coming back to Japan were inferred to highly related to his study experience in Germany. Therefore, this thesis focus on the relations between Germany 3 works and occident literature, and the similarities and differences between occident romanticism and Japan romanticism to manifest the acceptance of occident literature in Germany 3 works.
This thesis is separated to five chapters to discuss the relations between Ougai Mori with romanticism. In Chapter 1, “Maihime”,”Utakata no ki”, and”Fumidukai” were analyzed to be the beginning of Ougai Mori’s literature and affirmed with occident romantic color. Chapter 2 was focused on occident romanticism and Japan romanticism analysis. Based on the preceding work, I generalize three essence-feelings of one’s ego, imagination, expression of emotion from occident and Japan romanticism. Chapter 3 was concentrated on the self-recognition of protagonists in “Maihime”. The self-recognition of hero toyotarou can be divided into four stages of disappearance, appearance, distinction, and sinner. The self-recognition of heroine, Alice, can be divided into four stages of submission, love, strong volition, and hope destroyed. The self-recognition of protagonists in “Maihime” is almost in a reverse way and end at grudge.In Chapter 4, I analyzed the imagination in ”Utakata no ki” from the author’s viewpoint and readers’ viewpoint. The author rendered the multiple roles of heroine, Marie, as the violet girl, model, maniac, Bavaria, loreley, mother, firefly, and bubbles to elaborate the variety of character design extremely. Besides, there were many Japanese aesthetic vocabulary used in”Utakata no ki”. These ambiguous words made readers to inquire the story completely and expand readers’ imagination. Chapter 5 was focused on the expression of emotion in ”Fumidukai”. The heroine, Ida, showed her different emotion to the fiancé, follower, and officer obayashi. The expression of emotion of hero, officer obayashi, was ordered from curious, understandable, to sympathy through the contact with Ida. From the point of view in the preceding chapters, I prove that the essence of Ougai Mori’s Germany 3 works was exactly conformed to the one of romanticism.
|Appears in Collections:||[日本研究所] 學位論文|
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