關於『破戒』中“可能表現”之探討

Abstract

關於『破戒』中“可能表現”之探討本稿以夏目漱石之作品『坊』同時期所寫的島崎藤村之作品『破戒』為例，探討該作品中“可能表現”之「」型、「」型以及「可能動詞」型的使用狀況。本研究得到的結論，與先前筆者對夏目漱石之作品『坊』的研究，結論是一致的：發現了甚多足以啟示由使用“可能表現”之「」型，移轉到使用「可能動詞」型的例子，也發現了即使移轉確實在進行，但仍有少數的“可能表現”之「」型，照常的被使用。但是否這就足以推斷，明治末期的作品都顯示出相同的移轉趨勢呢？作品個性不同，其間必然會有差異性存在吧？此課題將留待日後探討。

The article uses Simazaki. tooson`s 『hakai』which was in the same period as Natsume, sooseki`s 『bocchan』as an example to deal with“rareru”and“kanoodoosi”.Theconclusion I`ve got is the same as what I`ve got in my research about Natsume. sooseki`s『bocchan』and I got a few examples that could show the evolution from“reru”to“kanoodoosi”. The evolution did happen but some of the“kanoo”expression`s type“reru”were still used as before.Does it mean all the worke in late Meiji show the same trend of evolution? As long as the novelists` characters are different, there will be differences between then. This will be explored in fuaure studies.