窗•道雄的詩考察－希求遙遠

本論文主要目的是以將窗•道雄的詩視為有希求「遙遠」的意象，並找出他所希求的「遙遠」到底是何要素成立。第一章即為序論，敘述了研究動機及先行研究、和本論文的研究方法。第二章針對窗•道雄的詩之顯著特徴之一「目眩感」，調査這與他幼年時期的實際體驗有何密切關係。第一節主要探討窗•道雄自身的年幼回憶與「重疊構造」是如何有關係的，第二節則討論窗•道雄關於「漸漸看不見之事物」的詩，第三節則是探討窗•道雄關於一直轉換視線的詩，第四節則是分析窗•道雄想同化成「微小物」之想法，第五節描述了以「無限的重複」為特點的詩之特徴。第六節則是列舉出窗•道雄的詩中幾首與永恆的時間及宇宙之無限擴充相關的詩，第七節則按年代順序觀察其創作初期受到白秋創造出之雨聲擬聲詞的影響及他為創造出自身獨特的擬聲語所做的嘗試。第八節則是將第二章做個總結，並觀察出窗•道雄的詩之源頭裡保有其年少時期的感覺方式。第三章考察了窗•道雄詩中出現的「神」之意義。第一節是探討窗•道雄的詩中，比起「神」這個單詞的真正意思，其語感或「神」這個字在詩中位置更被優先考量的例子。第二節則是討論「神」的特質及能力，第三節則是觀察「神」身為造物者的一面，第四節則是探討身為守護萬物存在的「神」，第五節則是考察窗•道雄的詩中，關於大生物凝視小生物，並藉此感受生命氣息之型態的詩。第六節是探討窗•道雄的詩中，描述大世界或小世界的詩裡關於「神」這個字被使用之方式，第七節則是調査了近似「神」這個字意思的單詞之用法。第八節則是將窗•道雄對「神」究竟為何物之想法及「神」在詩中被如何描寫做個總結。第四章則是針對在窗•道雄詩中被頻繁使用的「故鄉」做深入探索。第一節是將窗•道雄其以循環雨水做為主題的詩中，「故郷」變成「大地」「地球」及「天空」之事做討論。第二節則是探討將「出生之地」或「往昔之地」想成是「故郷」的詩，第三節則是觀察窗•道雄的詩中，有「到達點」「掙扎走到之地點」意義的「故郷」，第四節則分析窗•道雄的詩中，産生旋轉物體、圓形物之中心及力量源頭之「故郷」，第五節則是探討從形態可感受到的形象之像「平安」這樣的「故郷」，第六節則是觀察有好像在指什麼東西的形状之物體的「故郷」，第七節調査了感到懷念之理由與「故郷」做結合的詩。第八節則是分析重視「故郷」這個詞所放置之位置的詩，第九節則是調査「故郷」與「母親」之關連性，第十節則將「故郷」這個詞之意義與「故郷」和「遙遠」如何結合做個總結。第五章則將以下所列舉的：窗•道雄詩中可感受到的宗教性是來自其為「祈禱之詩」之窗•道雄詩的特性；將地球上生存的萬物與自己並列的窗•道雄之與萬物共存的觀念；窗•道雄像小孩似的觀感及其思想中既有的宗教觀或他有用思想無法束縛的自由思考；及窗•道雄之詩因其豐富的感性使其可越過修辭學之範疇，且其詩是以他從幼年時代開始從未改變持續至今的鮮明目光與不被既定概念束縛住的自由精神性為基礎形成的等、窗•道雄詩的特色與原因明確化。

關鍵字

遙遠；目眩感；神；故郷萬物共存的觀念

並列摘要

This thesis aims to analyze the components of “longing for another dimension” expressed in the poetry by Mado Michio. Ch.. 1 explains Reasons for the research, preceding studies, research methods applied in this thesis. Ch.. 2 examines how Mado’s childhood experience influenced the formation of the “dazzling feeling” concept often present as one of his works’ distinctive characteristics.This chapter treats Relationship between the childhood experience and the “nesting structure” of his poems. Poems with fading subjects, Poems with evolving standpoint, Assimilation with “small objects”, Poems characteristically identified with “eternal repetitions”, Poems relating to perpetual time and ever-expanding universe. Chronological analysis of Mado’s earlier works influenced by raindrop sounds introduced by Hakushu, and Mado’s attempts for originality. Ch.3 explores the meaning of the “God” in Mado’s works and explains thefollowing aspect:- Examples whereby the sentiment of the word plays a larger role than its literal meaning, Characteristics and abilities of Mado’s “God”,Mado’s “God” as the Creator,Mado’s “God” as the guardian of living creatures,Works featuring large and small creatures, whereby the life itself is the main theme,How the concept of the “God” was applied in the works where the large and small worlds were featured,Usage of words closely associated with the “God”, such as “heaven”, “someone”, “something”, “sky”, “first star”, “space” and so on, and meaning of the “God” to Mado and how it is described in his works. Ch..4 explores the concept of “Home” prominent in Mado’s works and explains the following aspect:- “Home” as “mother earth”, “the Earth” or “the sky”, where the theme is the circulating rain/water, “Home” as “birth place” or a place where one once resided, “Home” as a place one eventually reaches, “Home” as the centre of circulation or circular objects, “Home” as an abstract image of calmness, “Home” as a shape that implies certain objects, works involving “Home” and how they evoke the sentiment of fond memories, works displaying Mado’s particular emphasis on the sound of the word “Home”, relationship between the “Home” and the “mother”, relationship between the “Home” and “longing for another dimension”. Ch..5 explains the following aspects:-Religious connotation resulting from Mado’s “prayer” style, tendency to assimilate oneself with all living things on earth, Mado’s childlike sensitivity and thoughts leading to free thinking .The basis of Mado’s works being his naturally gifted observation ability as well as his spiritual character that is unconstrained by any pre-existing concepts and aided by his keen five senses.