【摘要】：宮澤賢治是日本近代童話作家。迄今為止,中日兩國(guó)學(xué)術(shù)界從不同視角研究宮澤賢治的成果枚不勝舉,但是,運(yùn)用“身體論”進(jìn)行的相關(guān)研究尚處于初始階段。況且目前國(guó)內(nèi)尚未見運(yùn)用“身體論”的相關(guān)理論,研究賢治童話中的身體詞匯中出現(xiàn)頻率最高的“眼睛表達(dá)”。本研究以賢治的43篇童話中出現(xiàn)的“眼睛表達(dá)”為研究對(duì)象,以“身心一體”的身體理論為指導(dǎo),首先運(yùn)用文本分析方法,考察了“眼睛表達(dá)”體現(xiàn)的情感;其次,運(yùn)用文獻(xiàn)考證方法,探究了童話中的“眼睛表達(dá)”的情感體現(xiàn)的各個(gè)創(chuàng)作時(shí)期的賢治的情感特征。本論文由5章構(gòu)成。第1章是緒論。概述了選題目的、意義、方法、先行研究及其存在的問題。第2章詳盡地考察了5個(gè)創(chuàng)作時(shí)期賢治童話中的“眼睛表達(dá)”體現(xiàn)的正負(fù)兩方面的復(fù)雜多樣的情感。結(jié)果如下:(1)學(xué)生時(shí)代:負(fù)面情感為心懷不軌、害怕等,正面情感為好奇、喜悅等;(2)上京時(shí)代:負(fù)面情感是難過、可怕等,正面情感是喜悅、驚嘆等;(3)教師時(shí)代:負(fù)面情感為心懷不軌、驚嚇等,正面情感為好奇、謹(jǐn)慎等;(4)羅須地人協(xié)會(huì)時(shí)代:負(fù)面情感為難受、憤怒等,正面情感為吃苦耐勞、積極樂觀、專注等;(5)病床時(shí)代:負(fù)面、正面情感分別為難受、孤獨(dú),驚嘆、入迷等。第3章以第2章為基礎(chǔ),重點(diǎn)剖析了各個(gè)創(chuàng)作時(shí)期的賢治的情感特征。即:學(xué)生時(shí)代疾惡如仇、揭露現(xiàn)實(shí);上京時(shí)代主要是同情弱者、尋求正道;教師時(shí)代則復(fù)雜多樣,重點(diǎn)體現(xiàn)為童心未泯、尋求正道、正途迷茫等;到了羅須地人協(xié)會(huì)時(shí)代,明確正途、不畏艱難、實(shí)踐理想成為主要特征;最后病床時(shí)代的特征可概括為不畏艱難、尋求正道。第4章從主觀和客觀兩方面簡(jiǎn)要分析了情感的成因。第5章總結(jié)全文。
[Abstract]:Miyazawa is a modern fairy-tale writer in Japan. So far, the academic circles of China and Japan have been able to study the results of the palace from different perspectives, but the related research by using the "body theory" is still in the initial stage. Moreover, the "eye expression" of the highest frequency in the body vocabulary in the fairy tales has not been studied at present, and the relevant theories of the "body theory" have not been found in the country. In this study, the "eye expression" of the 43 fairy tales of Xianzhi is the research object, and the "physical and mental integration" 's body theory is the guide. First, the text analysis method is used to study the emotion reflected by the "eye expression". Secondly, the method of document textual research is applied. The article probes into the emotional characteristics of each creative period of the "eye expression" in the fairy tale. This paper is composed of five chapters. Chapter 1 is the introduction. The purpose, meaning, method, advance research and the existing problems of the topic are summarized. Chapter 2 examines the positive and negative feelings of the "eye expression" in the five creative period and the positive and negative aspects of the fairy tales. The results are as follows: (1) The age of the students: the negative emotion is the heart of the mind, the fear and so on, the positive emotion is the curiosity, the joy, etc. (2) the upper king age: the negative emotion is sad, terrible, the positive emotion is the joy, the marvel, etc. (3) The teacher times: the negative emotion is the heart of the heart, Scared and so on, the positive emotion is curious, cautious, etc. (4) The Age of the People's Association of the People's Republic of China: the negative emotion is suffering, anger, etc., the positive emotion is the hard work, the positive optimistic, the focus, etc. (5) the hospital bed age: negative, the positive emotion is the pain, the loneliness, the marvel, the engender, etc. Chapter 3, on the basis of Chapter 2, focuses on the emotional characteristics of the Xianzhi in various creative periods. In other words, the time of the students is vicious, and the reality is revealed; the upper-capital period is mainly the compassion of the weak and the search for the right way; the teacher's time is complex and diverse, and the emphasis is on the unconsciousness of the child, the pursuit of the right way, the confusion of the right and the way, and the time of the people's association of the Roomans, which is clear and difficult, The practice ideal is the main feature; the characteristics of the time of the last bed can be summarized as not to be difficult, and to seek the right way. Chapter 4 provides a brief analysis of the cause of emotion from both subjective and objective aspects. Chapter 5 summarizes the full text.
【學(xué)位授予單位】：湘潭大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I313.078

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本文編號(hào)：2512049