北川冬彥〈長篇敘事詩〉創作方法的初探──著眼於與電影劇本形式的關連

An Introductory Analysis about Kitagawa Huyuhiko’s Writing Style ofÅFull Length EpicÈ: Focusing on the Connection with Scenario

北川冬彥於他的第九部詩集《氾濫》（1948年）中嘗試了所謂的〈長篇敘事詩〉。在探討此創作方法的背景上，筆者認為有必要參照他於1937年發起（劇本研究十人會）時所提唱的（劇本文學）運動的影響。述是因為北川自己也頻繁地說劇本的創作形式與〈長篇敘事詩〉的相關性作了明確的說明。為了理解其〈長篇敘事詩〉的創作方法為何並且檢證其詩作中具體受到電影影響的受容部分，筆者在本論文中首先就其詩論中提及〈長篇敘事詩〉與〈劇本〉相關連的文章部分作摘出。接著，針對北川的幾本電影評論書籍的內容，說──1‧電影與文學的比較對照、2‧〈劇本文學〉特色的解說、3‧〈劇本〉寫作方法的說明、4‧〈劇本〉與〈長篇敘事詩〉的關連──此四項目作全盤綜合的分類與整理。透過以上的檢討手續，筆者擬以此作為奠定今後從事檢討《氾濫》內容與構成時的研究參考基準。

Kitagawa Huyuhiko tried so-called writing style of (Full Length Epic) in his ninth anthology ”Flood” (1948). About the background of the creative activity, I think we should refer to the influence of ”Scenario Literature Movement” advocated by their 'Scenario Research Te n-people Party' in 1937. That is because Kitagawa declared the re1ati on between the writing style of scenario and (Full Length Epic) all the time.In order to verify the creation of his (Full Length Epic) and to inspect the influence of films in his poem, in this essay, I try to extract the descriptions related to (Full Length Epic) and ”Scenario” from his poetics. Furthermore, I try to make a total arrangement of Kitagawa's remarks from several his films commentary books following the four items--l. Comparison between films and literature, 2. Comments about the features of ”Scenario Literature”, 3. Explanations about the writing forms of” Scenario” 4. Relation between ”Scenario” and (Full Length Epic). By the procedures above, 1 aim to build the research infrastructure to examine the content and structure of ”Flood” in the future.