陳明姿臺灣大學：日本語文學研究所廖文瑞Liao, Wen-JuiWen-JuiLiao2007-11-262018-05-292007-11-262018-05-292007http://ntur.lib.ntu.edu.tw//handle/246246/52639本論文主要是在比較芥川龍之介的小說『羅生門』(1915)、『竹藪中』(1922)和黑澤明的電影『羅生門』(1950)之間的關係。直到目前為止，就芥川的這兩部小說和其改編電影之間相關性的研究，都將重點放在小說『竹藪中』上，但筆者認為小說『羅生門』對電影的影響也不可忽視。因此本論除了就小說『羅生門』對電影的影響進行了研究之外，也試著探討電影如何透過「影像」的獨特手法來表現亦或轉換兩部小說的主題。 在小說『羅生門』中，「門」本身具備了「境界」的含意。小說的主角下人在「羅生門」內遇到了老婆、並和她對抗。而透過這樣的行為，讓下人得以從羅生門內瀰漫的「死」的世界脫離，進而進入了芥川自己所說的「與現狀（俗世）懸離」的世界；在電影中的「門」也可以看到類似小說中的「境界」性，但不同的是，從小說中，「門」可解讀為「俗世」和其他「空間」的境界，然而電影中的「門」的出口，永遠是指向俗世的，其「境界」性其實可歸結於通過門的人們的「心境」。此外，透過電影中的「影像」，我們可以找到支持以上理論的線索－電影的最後，堅持「私利主義」的下人，剝奪了嬰孩的上衣離開了「羅生門」，這時在門的外側迎接他的，是黑茫茫的大雨世界。另一方面，到了最後一刻終於覺醒、堅持相信人性的樵夫和法師在離開門之際，迎接他們的則是充滿了光亮的雨後天晴。 而就小說『竹藪中』和電影的比較方面，從殺人事件的當事者證言場所的異同、和事件的第三者是否可以參與事件討論這兩點著眼的話，即可清楚定位出電影獨立於小說之處。此外，小說『竹藪中』透過各說各話的事件，強調著人的「私利主義」。對此電影則增加了一個旁觀者樵夫的自白，讓各個證人的證詞得以有對照的基點。然而儘管樵夫是旁觀者，到最後他仍然無法誠實地指出到底誰才是殺人事件的「兇手」，黑澤明透過「影像」來驗證了樵夫的謊言，也進一步地強調了人性的私利。 從芥川創作小說『羅生門』到『竹藪中』的過程，我們可以感受到作者對俗世越發沈重的「虛無」以及「消極」的態度。小說『羅生門』中，我們還可以透過下人對抗老婆的行為，看到其中反抗俗世的「積極性」。然而到了小說『竹藪中』，這股力量則消失殆盡，小說世界中蔓延的只剩下「黑暗」的氣氛。和小說的主題相對，電影在完整披露人性醜惡面之後，則昂然地展現出與其對抗的積極態度，就像電影最後投射入「羅生門」內、雨過天晴的「陽光」一樣，不管俗世多麼地醜惡，只要始終相信著善良人性，再大的困難都可以超越。而這也明確地指出了電影和原作想要傳達給讀者的主題的差異性。此外這樣的差異性，也可以 透過作品內「敘事者」表達方法的不同來得到驗證。 芥川的小說『羅生門』和『竹藪中』，其原典實為日本的古典『今昔物語集』。而根據芥川所言，『今昔物語集』所具有的精神，正是其對於人性私利的「惡」和「本性」不加掩飾施以描繪的手法，所造就的「野性之美」。本論文就「野性之美」如何在小說『羅生門』和『竹藪中』以及電影『羅生門』中呈現及其差異，作為此兩部作品比較的結論。The comparison between the two novels “RASHOMON” (Ryunosuke Akutagawa, 1915), “IN A BUSH” (Ryunosuke Akutagawa, 1922) and the movie “RASHOMON” (Akira Kurosawa, 1950) is mainly investigated in this thesis. The researches in the past have focused on the novel “IN A BUSH” while looking into the relationship between Ryunosuke’s two novels and adaptations; however, the influence by the novel “RASHOMON” should not be neglected and it will be emphasized in this study as well. In addition, the mechanism through pictures in the movies to present and transform the topics of these two novels will also be addressed. In the novel “RASHOMON”, “the gate” delivered the implication of “boundary”. The servant in this novel met the old woman and had a conflict at the gate. Through this path, this servant escaped from an atmosphere of death then entered what Ryunosuke called space that far apart from the real world. Furthermore, the expression of “boundary” in the novel can also be observed in the movie. The gate in the novel implied “real world” and “other spaces”; however, the gate in the movie only indicated “real world”, that is, one’s state of mind. The evidence supporting this thesis can be proved though the pictures in the movie: the servant who believed in egoism left the “RASHOMON” after taking the kimono off from the baby then walked into the pouring dark night. Instead, the firewood dealer and the priest who both awaked at the end and trusted humanity saw the sunny sky. Comparing the novel “IN A BUSH” to the movie “RASHOMON”, the difference can be definitely clarified by the two main points: one was the places confessed by the defendants in the murder case, and the other one was the allowance of the outsider to involve or not. Moreover, the egoism was stressed by the individual different opinions in the novel “IN A BUSH”. In contrast, the movie offered the firewood dealer’s confession as a basis of other confessions. Although the firewood dealer was on the sidelines, he could not honestly accuse who the murder was at the end. Akira Kurosawa used the techniques of “pictures” to examine the firewood dealer’s lie and accentuated the ugly humanity further. From the novels “RASHOMON” to “IN A BUSH”, the “nihilism” and passivism were highlighted. In the novel “RASHOMON”, the forwardness to fight the real world, which is full of egoism, can be noticed through the conflict between the servant and the old woman. However, this forwardness disappeared in the novel “IN A BUSH”, and left with the atmosphere of darkness. Opposite to the novel, the attitude of forwardness was significantly shown after discovering the ugly humanity in the movie. The sunlight shining in gate in the final part of the movie delivered the idea that believing in the humanity can overcome any obstruction no matter how ugly the real world is. Therefore, the major difference between the movie and the novel was clearly addressed. This difference was verified from several techniques by the narrator in the novel as well. The novels “RASHOMON” to “IN A BUSH” were originally from the classical literature “The Konjaku Tales”. According to Ryunosuke, the spirit in “The Konjaku Tales” was the beauty of brutality by drawing evil and ill and human’s nature without modification. In summary, this thesis concludes the comparison and discussion about the beauty of brutality showing in the novels “RASHOMON” to “IN A BUSH” and the movie “RASHOMON”.目次 端書き 要旨 凡例 第一章　序論 第一節　小説『羅生門』と『藪の中』・・・・・・・・・・・・ 1 第二節　映画『羅生門』と原作との関わり・・・・・・・・・ 4 一、映画『羅生門』と小説『羅生門』・・・・・・・・・・・・ 4 二、映画『羅生門』と小説『藪の中』・・・・・・・・・・・・ 7 第三節　先行研究をめぐって・・・・・・・・・・・・・・・ 8 第二章　映画における小説『羅生門』 第一節　小説の題名「羅生門」・・・・・・・・・・・・・・・10 一、「死」の雰囲気が漂う「羅生門」・・・・・・・・・・・・ 10 二、「死」から「生」へ・・・・・・・・・・・・・・・・・ 12 第二節 映画のタイトル「羅生門」・・・・・・・・・・・・ 17 一、小説の「死」の雰囲気の転換―「黒」の色調・・・・・・ 18 二、「門」の境界性―二つの出口・・・・・・・・・・・・・ 21 第三章 映画における『藪の中』 第一節　証言する場所―殺人事件の処理の仕方・・・・・・・ 24 一、小説『藪の中』での殺人事件の「真相」と法的な「結果」 24 二、映画で「検非違使庁」のシーンの役割・・・・・・・・・ 27 第二節　加えられた第四話・・・・・・・・・・・・・・・・ 33 一、第四話は真相であるか・・・・・・・・・・・・・・・・ 34 二、「殺人真相なし」の第四話・・・・・・・・・・・・・・ 35 第三節　藪の中の「光と影」・・・・・・・・・・・・・・・ 38 一、接吻のシーン・・・・・・・・・・・・・・・・・・・・ 39 二、「光」の「倒錯」の手法・・・・・・・・・・・・・・・ 40 第四章　映画における人物造型 第一節 「動物的本能」を持つ勝気な真砂・・・・・・・・・ 43 第二節 多襄丸―虚勢者という造形の露呈・・・・・・・・・ 47 第三節　諦念しない武弘・・・・・・・・・・・・・・・・・ 50 第四節 映画の下人、樵、旅法師― 小説における下人と老婆の造形の変容・・・・・・・・・ 53 一、小説の下人の造形・・・・・・・・・・・・・・・・・・ 54 二、映画の「下人」に見える「老婆」の造形・・・・・・・・ 56 三、人心の迷路で迷う旅法師と樵・・・・・・・・・・・・・ 59 四、新生の象徴である赤ん坊・・・・・・・・・・・・・・・ 60 第五章　変容した映画『羅生門』 第一節　小説『羅生門』と『藪の中』における主題と創作意図・・63 一、エゴイズムの世界から駆け出した下人・・・・・・・・・ 63 二、作品『羅生門』から『藪の中』に至っての「闇」の拡大・ 67 第二節　映画『羅生門』における主題と創作意図・・・・・・ 70 一、人間を信ずるのが一番大切なこと・・・・・・・・・・・ 70 二、映像の構図による主題の再現・・・・・・・・・・・・・ 72 第三節　小説と映画の語り手・・・・・・・・・・・・・・・ 76 一、小説『羅生門』と『藪の中』の語り手・・・・・・・・・ 76 二、映画『羅生門』の語り手・・・・・・・・・・・・・・・ 77 （一）映画の語り手の定義・・・・・・・・・・・・・・・・ 77 （二）映画『羅生門』のストーリーと語り手・・・・・・・・ 77 三、映画と小説の語り手の構造上の類似点・・・・・・・・・ 79 四、作品の世界に対する「語り手」の姿勢・・・・・・・・・ 80 （一）事件に対する語り方・・・・・・・・・・・・・・・・ 80 （二）「羅生門」への視線・・・・・・・・・・・・・・・・・82 第六章　結論 第一節　小説における「野性の美しさ」の変容・・・・・・・ 84 第二節　映画の中の「野性の美しさ」・・・・・・・・・・・・87 今後の課題・・・・・・・・・・・・・・・・・・・・・・・ 89 参考文献・・・・・・・・・・・・・・・・・・・・・・・・ 901456821 bytesapplication/pdfen-US影像境界心境黑茫茫的大雨世界光亮的雨後天晴證言場所事件的第三者私利主義樵夫的自白虛無積極性黑暗陽光相信善良人性敘事者野性之美the picture in the moviegateboundarythe pouring dark nightthe sunny skythe place confessed by the defendants in the murder casethe outsider of the murder caseegoismnihilismforwardnessdarknessshining sunlightbelieving in the humanitynarratorthe beauty of brutality[SDGs]SDG16otherhttp://ntur.lib.ntu.edu.tw/bitstream/246246/52639/1/ntu-96-R92127010-1.pdf