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星雲大師《無聲息的歌唱》研究=The Study of Venerable Master Hsing Yun's "Bells, Gongs and Wooden Fish" ("Wushengxi de gechang") |
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黃素娟 (著)=Huang, Su-Chuan (au.)
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| Date | 2019 |
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| Pages | 159 |
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| Publisher | 南華大學 |
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| Publisher Url |
https://web.nhu.edu.tw/
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| Location | 嘉義縣, 臺灣 [Chia-i hsien, Taiwan] |
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| Content type | 博碩士論文=Thesis and Dissertation |
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| Language | 中文=Chinese |
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| Degree | master |
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| Institution | 南華大學 |
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| Department | 文學系 |
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| Advisor | 陳章錫 |
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| Publication year | 108 |
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| Keyword | 星雲大師=Venerable Master Hsing Yun; 人間佛教=Humanistic Buddhism; 無聲息的歌唱="Bell, Gongs and Wooden Fish"; 書寫風格=writing style; 修辭=rhetoric |
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| Abstract | 《無聲息的歌唱》是星雲大師的首部著作，文章在佛教雜誌上發表時稱「物語」，篇名作〈大鐘的話〉、〈佛珠的話〉、〈香板的話〉等等，主要介紹佛門裡常見的器物，再則藉古諷今以反映當時佛教現實與弊病，三者傳遞佛門常識與佛法義理。此書蘊涵大師早期的思想與對佛教的抱負，是很值得研究的作品。
本論文以《無聲息的歌唱》為研究對象，探討此書之思想內容與文學表現。第二、三章著眼於思想內容，第二章探討此書的創作趨力與革新思想，及人間佛教思想的啟發。第三章先分析書名所蘊含的哲理，次從所引經文典故探討其中所蘊含的無常、慈悲及業果觀念等佛法義理，後歸納此書所關注的議題，如何以人間佛教思想為主導，順應現代人的需求而作調整。
第四、五章著眼於此書的文學表現。第四章解析此書的敘述特色有：夾敘夾議直抒本懷、講究前後呼應、善以幽默曲折說理；歸納出較明顯的書寫風格為：善用短句轉換情節、運用對比凸顯觀點、設計對話增廣視角等三項。第五章研究此書修辭藝術，先舉例說明擬人法在中國文學中的運用，再列舉書中示現、摹寫、借代、象徵、設問、排比等修辭技巧。
第六章歸納全篇重點：以佛教革新為創作趨力，並啟發人間佛教思想；從書中豐富的用典與所彰顯的佛法義理，可見星雲大師欲以新思惟來傳遞佛教思想；就書寫特色與修辭技巧以顯明此書的文學表現。
透過研究發現，從《無聲息的歌唱》可了解星雲大師人間佛教思想的起源與佛光山宗門思想的連貫，和大師的佛法思想及所展現的文學內涵，值得欲研究大師的思想理論與文學成就者關注。
"Bell, Gongs and Wooden Fish" is the first work of Venerable Master Hsing Yun. The article was called ‘Monogatari’ ,traditional Japanese literature, when published in a Buddhist magazine, and the masterpieces were "Words of the Big Bell", "Words of the Rosary", "Words of the Incense Board", etc. One introduces the common artifacts in Buddhism, and then uses ancient sarcasm to reflect the reality and disadvantages of Buddhism at that time. Furthermore, he delivered common knowledge of Buddhism and core teachings of the Buddha. This book contains the thought of the Grand Master and ambitions for Buddhism at his early time, and is a work worth of researching.
This dissertation uses "Bell, Gongs and Wooden Fish" as the research text to explore the ideological content and literary performance of the book. The second and third chapter focuses on the ideological content, and the second chapter explores the book's creative trends and innovative ideas, as well as the inspiration of Humanistic Buddhism. The third chapter first analyzes the philosophies contained in the title of the book, and then discusses the core teachings of Buddhism, such as impermanence, compassion, and the concept of karma from the quotation or story of scriptures. At last, it summarizes some topics of concern in this book, and adapts to the needs of modern people.
The fourth and fifth chapters focus on the literary performance of this book. The fourth chapter analyzes the book's narrative features, express the facts and arguments in a proper way which includes before and after, it makes good uses of humorous and tortuous to argument. Addionally, it summarizes writing styles obviously, as following, it also make good use of short sentences to transform the plot, and contrast to highlight the point of view, and the dialogues to broaden perspectives. The fifth chapter studies the art of rhetoric in this book. It first illustrates the application of anthropomorphism in Chinese literature, and then enumerates rhetorical skills such as manifestation, transcription, borrowing, symbolism, questioning, and parallelism and so on.
The sixth chapter summarizes the key points of the whole article. It takes Buddhist innovation as the creative force and inspires the thought of Humanistic Buddhism. The rich use of story and dharma doctrines revealed in the book. It can be seen that Venerable Master Hsing Yun wants to convey Buddhist thoughts with new ideas. He focuses on the writing characteristics and rhetoric skills to show the literary performance of the book.
This research found the origin of the Humanistic Buddhism of Venerable Master Hsing Yun and the continuity of thought of Fo Guang Shan Buddhist Sangha. The master's dharma thoughts and the literary connotations they reveal deserve the attention of those who want to study the master's ideology and literary. |
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| Table of contents | 第一章緒論 1
第一節研究動機與目的 1
一、研究動機 1
二、研究目的 3
第二節文獻探討 4
一、法物著錄略述 4
二、研究星雲大師文學的相關論文 5
三、研究《無聲息的歌唱》的相關論文 6
第三節研究方法與章節安排 9
一、研究方法 9
二、章節安排 9
第二章《無聲息的歌唱》的創作趨力與革新思想 11
第一節《無聲息的歌唱》的創作趨力 11
一、呼應民初佛教的改革議題 11
二、針砭光復初期台灣佛教現象 14
三、對自身前途未卜的寄寓 17
第二節《無聲息的歌唱》對現實的批判 18
一、呼籲佛教速從神化走向佛化 18
二、對當時僧人律儀及佛學的駁難 22
三、糾正大眾對佛教的誤解 27
第三節推動佛教革新的思想 28
一、著眼以教育提升素質 28
二、重視以文化弘揚佛法 31
三、人間佛教的應世發展 34
第三章《無聲息的歌唱》的義理傳承與具體應用 36
第一節「無聲息的歌唱」的意涵 36
一、無聲之聲與大音希聲 36
二、佛教對名言的概念 37
三、「無聲息的歌唱」意涵 38
第二節從法物溯源略探思想傳承 39
一、大鐘的典故 40
二、木魚的形制與功用 43
三、戒牒的源流與精神 45
第三節藉典故彰顯義理 47
一、明引佛典表達義理 48
二、暗用經意彰顯佛法 53
第四節《無聲息的歌唱》的具體應用 57
一、幸福鐘 57
二、以法語取代求籤 58
三、另一種文疏─佛光祈願文 58
四、碑牆刻名為功德徵信 59
五、以神明聯誼會進行宗教融和 60
第四章《無聲息的歌唱》的敘述特色與風格 61
第一節《無聲息的歌唱》的敘述特色 61
一、夾敘夾議直抒本懷 62
二、講究前後呼應 65
三、善以幽默曲折說理 69
第二節《無聲息的歌唱》的書寫風格 74
一、以短句轉換情節 75
二、運用對比凸顯觀點 79
三、設計對話增廣視角 84
第五章《無聲息的歌唱》的修辭分析 88
第一節擬人法修辭運用舉隅 88
一、古代文學擬人法作品略舉 88
二、陳衡哲與豐子愷的作品 90
第二節譬喻、示現與摹寫 92
一、譬喻 92
二、示現 94
三、摹寫 97
第三節借代、倒反與象徵 101
一、借代 101
二、倒反 104
三、象徵 106
第四節設問、鑲嵌與排比 109
一、設問 109
二、鑲嵌 111
三、排比 112
第六章結論 115
參考文獻 118
附錄一：〈物語的話〉刊載一覽表 125
附錄二：期刊上的〈物語的話〉 126 |
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| Hits | 355 |
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| Created date | 2020.07.16 |
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| Modified date | 2023.01.09 |
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