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Hokkaido University Collection of Scholarly and Academic Papers >
Graduate School of International Media, Communication and Tourism Studies / Research Faculty of Media and Communication >
メディア・コミュニケーション研究 = Media and Communication Studies >
55 >
新＜起承転結＞考I
| Title: | 新＜起承転結＞考I |
| Other Titles: | A New Theory on the Logical Four-part Framework of Composition, Part I |
| Authors: | 高橋, 吉文1 Browse this author →KAKEN DB |
| Authors(alt): | Takahashi, Yoshifumi1 |
| Issue Date: | 25-Mar-2009 |
| Publisher: | 北海道大学大学院メディア・コミュニケーション研究院 |
| Journal Title: | メディア・コミュニケーション研究 |
| Journal Title(alt): | Media and Communication Studies |
| Volume: | 55 |
| Start Page: | 39 |
| End Page: | 118 |
| Abstract: | I 複数の文章の集合からなるテキストは、配列によってその総体的な意味を構築し、発信する。本論は、まず新聞の多様な記事を分析素材として、テキストの配列や諸要素の関係、構成原理を解析し、〔I問い、II事情説明、III転換・新説、IV答え〕の四分節構成法を析出し、その基本的原理を東洋の古典的配列である起承転結と重ねあわせる。II だが、〔序論、本論、結論〕の三分節構成原理を古典古代より継承する西洋近代の論構成が主流となっている現代、その起承転結構成は転における論の破綻、首尾一貫性の欠落が災いして、強く忌避されている。III それは、しかし、従来の転に対する理解に難があったからで、その転調を先行研究に対する新機軸や新実験と解する時、災いは論理的に不可欠の必然へと一変する。IV つまり、I II III IVから構成されるテキストをIIIを中心に配置した問答装置として読み替えることによって、起承転結構成は、科学論文のみならずあらゆるテキストを秘かに律している物語と思考の母型回路であることが明らかになるのである。 | | I. A text that consists of multiple sentences constructs and creates its meaning through the order and composition of those sentences. In this paper I examine EastAsian rhetorical organization, the four-part framework for composition Ki-Shoo-Ten-Ketsu 起承転結, and make clear that it is an essential framework, not only for narrative, but also logic. II. First, I analyze several articles from Japanese newspapers with regard to their composition and the relationships between paragraphs. I demonstrate that the four-part order is a fundamental logical principle. It is composed of: I. a beginning (Ki); II. the subsequent progression (Shoo); III. change (Ten); and IV. the conclusion (Ketsu). But, because of a lack of a coherence caused by the introduction of unexpected elements at the third stage (change), recently this ancient Chinese framework has been regarded as an unlogical pattern and does not play an important role in writing in Japan. III. However, if we define a text as a collection of sentences that constitutes a Question-Answer-System, every text should begin with an explicit or implicit question. The question or unsolved problem presented in the first section is explained in detail in the second part II. At this point, the problem has still not been solved, so the linear logic reaches a dead end. It is the third part, III. the change, where changes in the inadequate linear logic show us new ideas and perspectives for finding a solution. That is the reason why we have the introduction of unexpected elements into the normal logical progression in the third part. The Ten (change) section is a turning point and has the function of critiquing and overturning inadequate existing research. The revolutionary function of the Ten section is the most important and indispensable part of the Question-Answer-System within the text. The final fourth part, IV conclusion (Ketsu) depends on the third part and summarizes its results and implications. The newly reinterpreted model of the ancient four-part-order, Ki-Shoo-Ten-Ketsu, therefore, creates the following thinking-matrix:I. Question, II. Explanation of circumstances to III. Turning point and Proposal of new Ideas and IV. Answer and Solution. While I.and II.belong to the Question-dimension, III. and IV. constitute symmetrically the Answer-dimension. In this new order, III. (Ten) leads the final part IV. (Ketsu) to an answer to the question posed in I. (Ki). In other words, III. (Ten) is literally located at the center of the text and it is the other parts I., II. and IV.,that serve to provide the context for the Ten (Change) part. IV. The logical and revolutionary function of Ten (Change) has been overlooked in the past in the Western history of rhetoric and writing theory. But, a clear comprehension of the fundamental matrix for narrative and logical thinking, the four-part-framework Ki-Shoo-Ten-Ketsu, will bring about a number of new perspectives and innovations in our cultural texts, both Asian and European. |
| Type: | bulletin (article) |
| URI: | http://hdl.handle.net/2115/38486 |
| Appears in Collections: | メディア・コミュニケーション研究 = Media and Communication Studies > 55
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Submitter: 高橋 吉文
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