史诗《江格尔》以战争与婚姻为基本母题，其母题意识指向在于巩固宝木巴家园繁荣，共创家园辉煌。史诗《江格尔》中的故乡场景以“二分法”为基础划分标准，在所属范畴条件上限定正反方故乡氛围、审美形态，通过激活超凡的自然状貌来表达集体无意识情感图示。就整体情节而言，史诗中双方人马实力相当，需要有暗含的差异性来形成巧妙的氛围转达，并推动情节进展，引起欣赏者的共鸣。在情节构造方面，故事的范围设置需要正反双方故乡场景的描述来确定敌对氛围，刺激情节发展。本章节以数量、方位为论点阐明故乡场景的所属范畴何以呈现善与恶二元对立，以及数量功能对正方、反方、中间地带的影响力，力在理清故乡场景的具体程式功能展现。
The epic poem ‘Jangar’ takes war and marriage as its basic theme, and its theme is to consolidate the prosperity of Baomuba's hometown and create the glory of the hometown together. The hometown scenes in the epic poem‘Jangar’ are divided according to the ‘dichotomy’ as the basic criterion, which limits the hometown atmosphere and aesthetic form of both sides in terms of the conditions of their categories, and expresses the collective unconscious emotion through the activation of transcendent natural appearance. In terms of the overall plot, the two sides of the epic have equal strengths, and need to have implied differences to form a clever atmosphere to convey and promote the progress of the plot, and to arouse the empathy of the admirers. In terms of plot construction, the scope of the story is set up in such a way that descriptions of scenes from the hometowns of both sides, positive and negative, are needed to define the hostile atmosphere and stimulate plot development. This chapter takes quantity and orientation as arguments to explain why the home scene belongs to the category of the binary opposition between good and evil, as well as the quantitative function of the positive, negative, the influence of the middle zone, force in the home scene to clarify the specific function of the program.and endeavours to clarify the specific programmatic functions of hometown scenes.
1. 绪论
2. 所属范畴的数量对立
3. 所属范畴的方位对立
4. 小结