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    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/138104


    Title: 変容するイデオロギー──芥川龍之介「尾生の信」
    變化的意識形態－芥川龍之介〈尾生之信〉
    Changing Ideology: A study of Ryunosuke Akutagawa`s ＂Bisei no Shin＂
    Authors: 高啓豪
    KAO, Chi-Hao
    Contributors: 政大日本研究
    Keywords: 漢字文化の受容と変容; 尾生の信; 荘子; 芥川龍之介; 身体感覚 
    漢字文化的接受與演變; 尾生之信; 莊子; 芥川龍之介; 身體表象
    Acceptance and evolution of Chinese character culture; Bisei no Shin; Zhuangzi; Ryunosuke Akutagawa; Representation of body
    Date: 2021-01
    Issue Date: 2021-12-06 16:01:03 (UTC+8)
    Abstract: 中国の四字熟語「尾生之信」は ; 周知のように約束事を固く守ることのたとえである。物語の内容は ; 尾生という男が女性と橋の下で待ち合わせるが ; 待っているうちに増してきた川の水に溺れ死にという寓話に由来する。漢字文化が東アジアに浸透し「尾生之信」という寓話は日本でも広く知られていることで ; それを題材にした芥川龍之介「尾生の信」（大正九（1920）年一月「中央文学」初出）がいわゆる中国物として成立した。中国の典籍『莊子』．「雑篇盜跖」で尾生の話が最初に記載された。『莊子』では ; 盜跖という人物と孔子との会話で儒家思想の弊害を弁証法的に説くものであるが ; 芥川の「尾生の信」では主人公の心境の描写と身体感覚の表象が加えられ ; 叙情的に仕上がっている。小論では ; 文化の受容と変容に主眼を置きつつ ; 作品成立に至るまでのプロセスを検討していく。
    眾所周知，中文四字成語「尾生之信」是堅守信約，至死不渝的譬喻。故事的內容來源於一則寓言，一個叫尾生的男子和女子相約在橋下，在等待的過程中女子遲遲未到，而尾生溺水身亡。隨著漢字文化滲透到東亞，「尾生之信」這一寓言在日本也廣為人知，以此為題材的芥川龍之介〈尾生之信〉（大正九（1920年）1月《中央文學》）便作為其一系列的中國相關作品而成立。而在最初記載尾生故事的中國典籍《莊子》〈雜篇盜跖〉當中，呈現的是名為盜跖的人物與孔子的辯論，尾生故事被盜跖引用，痛陳儒家思想重名聲而不知權衡輕重所造成的弊端。而在芥川的〈尾生之信〉中,描寫焦點則著重於主角的心境，身體感覺的描寫大幅增加，且加上作者一抒己懷的要素。本論文將主要著眼點立基於文化的接受與變化，將芥川的〈尾生之信〉和原著《莊子》〈雜篇盜跖〉進行比較，探討文學作品在不同時空下意識形態的變化。
    The well-known four-character Chinese idiom ＂Wei Sheng Zhi Xin(尾生之信)＂ is an analogy for keeping a promise until death. The story comes from a fable, a man and woman called meet under the bridge, in the process of waiting for the woman did not arrive, and man drowned. With the Chinese character culture permeating into east Asia, the fable is also well known in Japan, and Ryunosuke Akutagawa wrote ＂Bisei no Shin(尾生の信)＂ as one of his series of Chinese related novels. The Wei Sheng`s story was first written by the Chinese classic ＂Zhuangzi(莊子)＂, which presents the debate between a character named Daozhi(盜跖) and Confucius. In Akutagawa`s ＂Bisei no Shin＂, the focus of description is on the mood of the protagonist, the description of the body feeling increases greatly, and the author expresses his own feelings. This paper will focus on the cultural acceptance, change and evolution between Japan and China by comparing two literary works.
    Relation: 政大日本研究, 18, 121-136
    Data Type: article
    DOI 連結: https://doi.org/10.30379/CJJS.202101_(18).0005
    DOI: 10.30379/CJJS.202101_(18).0005
    Appears in Collections:[第18號] 期刊論文
    [日本語文學系] 期刊論文

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