【摘要】：《平家物語(yǔ)》是日本有名的古典文學(xué)作品,被稱為日本中世軍記物語(yǔ)的集大成之作。它以平家一門的盛衰為主要線索講述日本平安末期至中世初期真實(shí)的源平之爭(zhēng),最初是琵琶法師的唱本,以“平曲”的形式廣泛傳播,最終成立于鐮倉(cāng)時(shí)期的民間。講唱者在物語(yǔ)中穿插了許多與神明相關(guān)的話語(yǔ)或故事,其中以天皇和皇族的氏神天照大神、藤原氏的氏神春日大明神、平家氏神嚴(yán)島大明神和源氏氏神八幡大菩薩出現(xiàn)的最頻繁,作為自古以來就位于權(quán)力爭(zhēng)奪中心的四個(gè)大氏族的氏神,筆者認(rèn)為他們?cè)谖镎Z(yǔ)中的出現(xiàn)并非偶然,具有重要的研究?jī)r(jià)值。本論文在先行研究的基礎(chǔ)上,立足于覺一本《平家物語(yǔ)》原文,參考史料,圍繞著氏神在物語(yǔ)中的出現(xiàn),結(jié)合物語(yǔ)的文學(xué)性對(duì)物語(yǔ)中的氏神描寫進(jìn)行分析,考察氏神出現(xiàn)的文學(xué)作用、創(chuàng)作者穿插氏神的意圖以及氏神應(yīng)驗(yàn)描寫暗含的意思。經(jīng)筆者研究發(fā)現(xiàn),平家物語(yǔ)中的氏神經(jīng)常出現(xiàn)在物語(yǔ)主人公的夢(mèng)中、凡人的祈禱中、講唱者的旁白、感慨中;氏神的出現(xiàn)有時(shí)對(duì)階級(jí)勢(shì)力和時(shí)代狀況進(jìn)行比喻、有時(shí)為情節(jié)發(fā)展埋下伏筆、有時(shí)表達(dá)講唱者或物語(yǔ)中主人公的心情;其次,物語(yǔ)對(duì)于這四位氏神的描寫與日本歷史上的相關(guān)記載有所區(qū)別;最后,氏神在物語(yǔ)中有很多應(yīng)驗(yàn)的描寫,有時(shí)顯靈有時(shí)又不顯靈。因此,筆者首先對(duì)物語(yǔ)中氏神的出現(xiàn)場(chǎng)合進(jìn)行總結(jié),然后從物語(yǔ)中講唱者運(yùn)用的代表性文學(xué)修辭手法、作者的創(chuàng)作意圖、物語(yǔ)中氏神的顯靈與否三個(gè)方面分別對(duì)物語(yǔ)中的氏神描寫進(jìn)行探討。這部作品創(chuàng)作于民間,民間文化滲透入它的創(chuàng)作之中,本論文抓住物語(yǔ)的這一特征,從物語(yǔ)文學(xué)性、作者的創(chuàng)作角度和氏神應(yīng)驗(yàn)描寫的內(nèi)容上對(duì)物語(yǔ)中的氏神進(jìn)行研究,這個(gè)研究對(duì)于理解《平家物語(yǔ)》的內(nèi)容和作者的真實(shí)意圖以及了解日本民間文化都有幫助,因此本論文具有重大的研究意義。
[Abstract]:Pingjia object language is a famous Japanese classical literary work, which is known as the collection of Japanese Zhongshi Army object language. It takes the rise and fall of the Pingjia family as the main clue to tell about the real source-ping dispute from the end of Ping an to the early Middle Age in Japan. It was originally the album of the pipa mage, widely spread in the form of "Ping qu", and finally founded in the Folk of the Kamakura period. The singer interspersed with many words or stories related to the gods, among them the emperor and the royal god, the great god, the Fujihara god, the god of spring and the great god of the sun, and the god of Fujihara, the god of the spring sun and the great god of the Fujihara family, The most frequent appearance of the Grand Bodhisattva of the Great Ming God and the Grand Bodhisattva of the Source's God is the four great clan gods, which have been at the center of the power struggle since ancient times, and the author does not believe that their appearance in the material language is accidental, the author thinks that their appearance in the material language is not accidental. It has important research value. On the basis of the previous research, this thesis, based on the original text of Pingjia language of things, makes reference to historical data and analyzes the description of the Shi-Shen in the matter-language in the light of the literariness of the matter-language, focusing on the appearance of the Shi-Shen in the matter-language, and combining with the literariness of the matter-language, This paper examines the literary role of the Gods, the intention of the creators to insert them, and the implicative meaning of the fulfillment description of the Gods. Through the author's research, it is found that the Gods often appear in the dreams of the protagonists, in the prayers of mortals, in the narrators' narratives and in the feelings of the singers. The appearance of the Gods sometimes compares class forces and times, sometimes ambushes the plot development, and sometimes expresses the mood of the protagonist in the vocalist or material language; Secondly, the description of the four Gods is different from the related records in Japanese history. Finally, there are many practical descriptions of the Gods in the material language, sometimes showing the spirit and sometimes not showing the spirit. Therefore, the author first summarizes the appearance of the god in the material language, and then analyzes the representative literary rhetoric devices used by the vocalists in the material language and the author's intention to create it. The description of the Gods in the material language is discussed in three aspects: the manifestation or not of the Gods in the material language. This work is created in the folk, folk culture permeates in its creation, this thesis grasps the material language this characteristic, from the object language literary nature, the author's creation angle and the Shi Shen realizes the description content to carry on the research to the Shi Shen in the object language, This study is of great significance in understanding the contents and the author's true intentions and understanding the Japanese folk culture.
【學(xué)位授予單位】：長(zhǎng)春理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I313.06

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