本居宣长(1730—1801)是日本近世国学的集大成者，在日本近世思想史上有着极其重要的地位。他所提出的著名文艺理论“物哀”论，对其后的日本文学研究有着深远的影响，也是日本思想史研究的重要课题。关于本居宣长国学的研究和评价是日本学术界最前沿的课题之一。日本学术界以反思战争中的军国主义为契机，进一步反思日本的近代思想，并追溯到明治末的国粹主义，和以本居宣长为代表的日本江户国学思想。本文在研读本居宣长原著《安波礼辨》、《紫文要领》、《石上私淑言》、《源氏物语玉小梳》及其它笔记、日记、年谱的基础上，追溯本居宣长的学术思想的形成过程，对本居宣长的“物哀”论从以下三方面进行了具体的分析和研究。1. 以往的物哀论研究几乎均以本居宣长晚年写作的终稿《源氏物语玉小梳》为依据，对本居宣长从29岁开始到70岁为止的40多年中，其自身思考上的变化缺少关注。本文通过具体研读系列原著，总结出本居宣长对“物哀”概念解释的变化，指出有逐步抽象具体语义，向一般性、普遍性语义变化的倾向，以及发生这种倾向的原因。2. 以往的先行研究没有关注本居宣长的研究中存在关于“物哀”一词的书写问题，本文从声音中心主义视角考察本居宣长的汉字观，指出本居宣长在“物哀论”的研究中存在着排斥汉字使用假名的倾向及其民族主义特征。3. 本居宣长提出的 “物哀”通常被认为是日本民族的一种固有民族精神，关于“物哀”论和中国文化的关系只有个别的先行研究稍稍提及。本文仔细考察了本居宣长青年时期关于汉学的读书笔记和其他原著，指出被作为日本文学、日本文化特质理解的“物哀”实际上与中国文化有着密不可分的联系。

Motoori Norinaga (1730~1801), a towering figure in the movement of “national learning” (Kokugaku) in Japan in the 17th and 18th centuries, stood at the forefront of those thinkers in Japanese intellectual history. His famous notion, “mono no aware” (the affective and aesthetic force of things in the world) is one of the most well-known concepts in traditional literary criticism in Japan.As one of the most edge-cutting topics in the Modernism of Japan, Norinaga’s “national learning” has attracted intensive research interest, including the study of the nationalism in 2nd world war and Meiji period of Japan, and “national learning” of Norinaga as a rootstock. In this paper, based on the diaries, notes, as well as publications of Norinaga, we analyze the forming process of Norinaga’s “mono no aware” theory. The paper is organized as follows. First of all, most research only focus on the “Genji monogatari tama no ogushi”, which is completed late in Norinaga’s life, and there is few papers concerning the evolution of the “mono no aware” theory during his 41-years. In this paper, we demonstrate the evolution process of Norinaga’s explanation of “aware” and his tendency to interpret this word as a general term instead of a specific one. Secondly, so far as we know, there is few research about Norinaga’s writing of “aware”. In this paper, by exploiting the perspective of phonocentrisme, we investigate the Norinaga’s preference of “Kana” rather than “Kanji” among several different writings of “aware”, and his strong background of “national learning”. Finally, as “mono no aware” is widely accepted as a Japanese characteristic, little effort is placed on the relationship between “mono no aware” and Chinese traditional literary criticism, however, we have demonstrated that several Chinese literary concepts are used in Norinaga’s theory.