語りにおけるメタ・テクストとテクストの交響的連関─夏目漱石『坊つちやん』のテクスト構成への一考察─

夏目漱石（1967－1916）享有近代日語文體的創始者之一的美譽。本論文從研究文學作品之文章結構之觀點，由文本研究方面觀察到建構漱石《少爺》（1906）作品上文本性質的差異。而進一步釐清作品結構與敘述間的關係。考察結果顯示：《少爺》藉由羅列插曲而營造出具有焦点的超越文本當中，涵括了透過時間的流動而型成各式情節的文本。如此的文章結構中，《少爺》作品中說明事件的理由或行為動機的環節，皆被超越文本的焦點所支配。讀者可以自由地改變環節順序，閱讀《少爺》。就此意義而言，《少爺》一作即是漱石嘗試創新近代日語文本之實驗之作。

關鍵字

夏目漱石；《少爺》；近代日語文體；超越文本；文本

並列摘要

Soseki Natsume is called one of the initiators of a Japanese modern text style. In this theis, it is paid to attention to a qualitative difference of the text that composed Soseki's 'Bocchan' as one aspect concerning the research of the text structure of the literary work. This thesis has tried to clarify the relation between the structure of the work and narrating. As a result, it has been understood that the text by the story with the passage at time is wrapped in the meta text that begins to be seen the production of the focus by arranging the episode in 'Bocchan'. The plot that explains the reason for the event and the motive of the action is ruled by the focus of the meta text in 'Bocchan', and it is considered that the reader is freely reading the plot in a different way. In that sense, 'Bocchan' is thought to be a laboratory of the text in Soseki's modern, Japanese creation.