论文部分内容阅读
风,是自然界中不可或缺的要素之一。然而它既无固定形态亦无颜色气味。我们无法立即获知它的具体方位。作为日常生活中的必要因素却又极为普通毫不起眼地存在着——这就是“风”。在宫泽贤治的作品中对风的描写并不罕见。《风之又三郎》作为宫泽贤治童话作品的代表作大放异彩。并且,阅读宫泽贤治其他作品时可以发现《风之又三郎》里面“风”的出现频率相比之下尤为突出。在这部作品里“风”拥有各种各样的表情,它以各种形式登场并且极富象征含义。《风野又三郎》是《风之又三郎》的初期形态,本稿试图对两者进行对比研究,聚焦作品中所描写的风,通过听觉、视觉、触觉三方面分析“风”所起的作用。
Wind is one of the essential elements in nature. However, it has neither fixed form nor color odor. We can not immediately know its specific orientation. As a necessary factor in daily life, it is extremely ordinary and apparently inconspicuous - this is “wind ”. The description of the wind in Kenji Miyazawa’s works is not uncommon. “Fukuyama Saburo” shines brightly as a masterpiece of Kenji Miyazawa’s fairy tale. And, reading other works of Kenji Miyazawa can be found in the “wind again Saburo” inside “wind ” the frequency of occurrence is particularly prominent. In this work “Wind ” has a variety of expressions, which debut in various forms and very symbolic meaning. Fukuyama Saburo is the initial form of “Fukuzawa Saburo”. This paper tries to compare the two studies and focus on the winds described in the works. It analyzes the role of “Feng” in three aspects: hearing, sight and touch .