漱石石作品中的外來構詞；Japanese GAIRAIGO Coinage in SOSEKI’s Literary Works

漱石作品における外来語の造語

"夏目漱石中石作裡使用了各式各樣中的外來語，其中也有諸如「ハイカラ姿」、「ライスカレー」等日人自己創造也就是所謂的和製外來語。本篇論文以漱石作品中的和製的外來語為語詞分析對象，探討明治時期的外來語構詞問題，特別就外來語詞根以及其所構成合成語之構詞特徵等進行考察。關於漱石石作品中的外來語詞根，透過考察了解到：整體而言，大部分的外來語詞根其構詞能力並不高；然而其中幾個早期即傳入日本，對日人而言較為熟悉的外來語較容易成為日語詞根，發揮構詞功能。另，藉由語詞種類的觀點考察，了解到的外來語詞根主要多與日語原有語種(「和語」及「漢語」)相結合；並也分析了漱石作品中的外來語詞根與現代外來語詞根構詞相異之現象。關於合成語方面，嘗試將漱石作品中的和製外來語分成當時的一般用語及非一般用語兩種，並且從中篩檢出漱石獨特的外來語造詞，約佔漱石作品中所有和製外來語的1/5。最後，也釐清了明治時期所謂的新漢語與外來語之間，其構詞需求的語意領域各不相同，彼此呈現相互互補的現象。
In SOSEKI’s literary works, he uses a variety of GAIRAIGOs, which include not only the transliterated words but also those created by Japanese, namely the Japanese- made GAIRAIGO such as“HAIKARASUGATA”and“RAISU KARE-”. This article, analyzing the Japanese-made GAIRAIGOs in Soseki’s pieces, discusses coinage of GAIRAIGO during the Meiji Era, especially focusing on the GAIRAIGO roots and the compound words based on them. The research shows that in Soseki’s literary works, most GAIRAIGO roots did not have a high coining ability. Besides, from the aspect of lexical class, I find that GAIRAIGO roots were usually combined with WAGO and KANGO, which are the original Japanese lexical classes. I also analyzed the difference in the coinage between GAIRAIGO’s in Soseki’s literary works and the modern GAIRAIGOs. Last, I make it clear that during Meiji Era, the semantic fields where SHINKANGO and GAIRAIGO were applied were quite different, complementing each other."

夏目漱石中石作裡使用了各式各樣中的外來語，其中也有諸如「ハイカラ姿」、「ライスカレー」等日人自己創造也就是所謂的和製外來語。本篇論文以漱石作品中的和製的外來語為語詞分析對象，探討明治時期的外來語構詞問題，特別就外來語詞根以及其所構成合成語之構詞特徵等進行考察。關於漱石石作品中的外來語詞根，透過考察了解到：整體而言，大部分的外來語詞根其構詞能力並不高；然而其中幾個早期即傳入日本，對日人而言較為熟悉的外來語較容易成為日語詞根，發揮構詞功能。另，藉由語詞種類的觀點考察，了解到的外來語詞根主要多與日語原有語種(「和語」及「漢語」)相結合；並也分析了漱石作品中的外來語詞根與現代外來語詞根構詞相異之現象。關於合成語方面，嘗試將漱石作品中的和製外來語分成當時的一般用語及非一般用語兩種，並且從中篩檢出漱石獨特的外來語造詞，約佔漱石作品中所有和製外來語的1/5。最後，也釐清了明治時期所謂的新漢語與外來語之間，其構詞需求的語意領域各不相同，彼此呈現相互互補的現象。
In SOSEKI’s literary works, he uses a variety of GAIRAIGOs, which include not only the transliterated words but also those created by Japanese, namely the Japanese- made GAIRAIGO such as“HAIKARASUGATA”and“RAISU KARE-”. This article, analyzing the Japanese-made GAIRAIGOs in Soseki’s pieces, discusses coinage of GAIRAIGO during the Meiji Era, especially focusing on the GAIRAIGO roots and the compound words based on them. The research shows that in Soseki’s literary works, most GAIRAIGO roots did not have a high coining ability. Besides, from the aspect of lexical class, I find that GAIRAIGO roots were usually combined with WAGO and KANGO, which are the original Japanese lexical classes. I also analyzed the difference in the coinage between GAIRAIGO’s in Soseki’s literary works and the modern GAIRAIGOs. Last, I make it clear that during Meiji Era, the semantic fields where SHINKANGO and GAIRAIGO were applied were quite different, complementing each other.