| dc.contributor | 日文系 | |
| dc.creator (作者) | 鄭家瑜 | |
| dc.creator (作者) | Cheng, Chia-yu | |
| dc.date (日期) | 2014-07 | |
| dc.date.accessioned | 4-Jan-2022 14:14:37 (UTC+8) | - |
| dc.date.available | 4-Jan-2022 14:14:37 (UTC+8) | - |
| dc.date.issued (上傳時間) | 4-Jan-2022 14:14:37 (UTC+8) | - |
| dc.identifier.uri (URI) | http://nccur.lib.nccu.edu.tw/handle/140.119/138411 | - |
| dc.description.abstract (摘要) | 「記紀歌謠」是《古事記》、《日本書紀》(以下簡稱「記紀」)兩書 中所收錄之歌謠的合稱。根據岡田喜久男氏之算法，《古事記》一共中收 錄一一二首歌謠，《日本書紀》則收錄一二八首歌謠， 兩書合計收錄兩百 四十首歌謠。其中類似的歌謠（ 以下稱為「類同歌」） 共有五三首1。同 時， 兩百四十首歌謠中， 包含了大量的「物語歌」。 所謂的「物語歌」， 通常可分兩大類： 一是「轉用物語歌」， 二是「創 作物語歌」。前者是指將民謠、宮廷歌謠等等轉用至物語之中後， 與物語 結合的歌謠； 後者則是物語的編述者為了物語內容的需要， 而創作出來 的歌謠2 。 有關「記紀歌謠」的研究， 整體而言， 日本戰後的「記紀歌謠」研 究史， 幾乎是站在反對津田左右吉氏的「記紀」與「記紀歌謠」的虛構 說的立場上， 認為「記紀」中的「物語」和「歌謠」必須分成兩部分來 考慮。然而「記紀」中的「物語」和「歌謠」真的必須切割開來考量嗎? 無論是「轉用物語歌」或是「創作物語歌」， 皆是基於物語故事之需要而 被轉用或創作的話， 那麼「物語」和「歌謠」又要如何切割開來考量呢? 同時， 即便是「類同歌」中，「記紀」也經常有不同的歌詠者以及用詞與 文法的出現， 究竟「記紀歌謠」的採錄方式以及編述方式有何異同？ 透 過「物語歌」的分析， 不但可以更多掌握「記紀」中之「物語」和「歌 謠」的關係，同時也可以進一步釐清兩書在編撰方式以及意圖上的差異。 不僅如此，「物語」和「歌謠」結合的這一模式， 對於理解《萬葉集》的 「傳說歌」以及《伊勢物語》《大和物語》等「歌物語」也有極大的助益。 本研究即是站在這樣的立場上， 以「物語歌」為中心， 透過歌謠的 歌形、用字、文法、修辭、排列方式、以及歌謠與物語的密合度等等指 標， 來分析「記紀歌謠」的特色與性格， 以及其於「記紀」兩書中的機 能， 進而思考「物語歌」於日本古典文學中的定位與意義。 | |
| dc.description.abstract (摘要) | “KIKI song” is the song collections of both “Kojiki” and “Nihonsyoki”. According to OKADA Kikuo, there are 112 songs included in “Kojiki” and 128 songs adopted in “Nihonsyoki”; the total of 240 songs are collected. The majority of the 240 songs are called「Tales songs」, and 53 out of the 240 are similar to each other, which is called 「similar songs」. 「Tales songs」 can be divided into transfer tales and creative tales. The former refers to the songs that were transferred from folk songs and royal songs. The latter refers to the songs that were created by the editors of tales to fit the contents. In general, most of the historical studies of KiKi songs after the World War II usually opposed TUDA soukiti’s KiKi and the fictitious position of the KiKI songs. Instead, tales and songs of KiKi were considered separately. However, since transfer and creative 「Tales songs」 were developed based on tales, whether it is necessary to separate them and how they can be separated still remain questionable. Because KiKi of 「similar songs」 usually were sung by different singers with diverse discourses and grammars, the similarities and differences between adoption and edition of “KiKi songs” should be further explored. The perspective of「Tales songs」can facilitate exploration of the relationship between Tales and songs of KiKi; moreover, the differences of edition and intention can further be clarified. Besides, the combination styles of Tales」songs and songs are beneficial to understanding of 「Legend song」 of “Manyousyu” as well as「songs’ Tales」, such “Tales of Ise” and “Tales of Yamato”. Based on the perspective of 「Tales songs」, this study will analyze KiKi songs through song styles, forms, wordings, arrangements and relations of Tales in order to identify KiKi songs’ characteristics, functions and further explore its influence and status of classic Japanese literature. | |
| dc.format.extent | 1144921 bytes | - |
| dc.format.mimetype | application/pdf | - |
| dc.relation (關聯) | 科技部, NSC101-2410-H004-190-MY3, 10208 ~ 10307 | |
| dc.subject (關鍵詞) | 《古事記》 ; 《日本書紀》 ; 記紀歌謠 ; 物語 ; 物語歌 | |
| dc.subject (關鍵詞) | Kojiki ; Nihonsyoki ; KIKI song ; Tales songs ; Tales | |
| dc.title (題名) | 「記紀歌謠」研究－以「物語歌」為中心(2/3) | |
| dc.title (題名) | A Study of “Kiki Songs”—Concentrating on 「Tales Songs」(2/3) | |
| dc.type (資料類型) | report | |
