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題名:《荔鏡傳》續考--「陳三五娘」在小說文體的表述手法與基礎意涵考略
書刊名:華梵人文學報
作者:黃東陽 引用關係
作者(外文):Huang, Tung-yang
出版日期:2011
卷期:15
頁次:頁83-107
主題關鍵詞:陳三五娘荔鏡傳明代文言小說中篇傳奇Chen San and Wu NiangLi Jing ZhuanMing DynastyClassical Chinese novelMedium-length romantic novel
原始連結:連回原系統網址new window
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本文主要探討明代中篇傳奇《荔鏡傳》之情節安排、創作命意和思考底蘊,意欲就此尋繹「陳三五娘」故事在初肇時期的核心概念,以發明此故事在民間廣受歡迎的原由。本文除交代《荔鏡傳》在文本上的相關疑義外,已先就故事脈絡予以考察:得知《荔鏡傳》先將兩人的婚約歸納在天命的意志中,並延展此概念復將展現男女自由意志的「投荔」與「磨鏡」情節,甚至其後的「野合」與「淫奔」都劃歸上天的安排裏,讓兩人違禮的行為合理化;在主題的闡釋方面,男女主角無論對愛情、婚姻的看法雖皆歧異:男方視色欲的滿足為愛情,情欲的維繫方式即婚姻,達成此目標即令有野合、淫奔的行為也毋庸在意。至於女方將外貌、才華與忠誠視為愛情,惟婚姻乃屬於禮教,與愛情間無必然的相關,故計較著禮法的規範,成為制約兩人不逾禮法的關鍵。然而為了故事的推展,兩人發生親密關係後女方的愛情與婚姻觀即刻與男方同調,追求長相廝守為至終目的,甚至不惜付出生命為代價。此書看似記述男女尋求愛情自主的過程,實則一切發展無不受到天命及禮教的限囿,否定個人改變環境與命運的可能。惟是書所建構「投荔」及「磨鏡」的情節,以及在兩人結合前安排的磨難,激越了意志與命運的兩下衝突、與突顯對愛情的堅持不移,拋擲原有的天命概念,成為後來戲曲所強調的主要情節,令兩人追求愛情、鄙薄俗世的意志,在不斷的試煉裏屢次被證明,深孚奇緣的命名,亦是「陳三五娘」傳續不衰與故事命題的核心所在。
This paper investigated the plot, the gist of writing and the thought behind the medium-length romantic novel Li Jing Zhuan of the Ming Dynasty, with the attempt to find out the key concept at the incipient stage of writing this love story of Chen San and Wu Niang, in order to discover and understand the reason why this story was so popular among the general public. Judging from the plot, this romantic novel attributed the union of these two persons to the predestination of the heaven and considered the expression of free will of men and women, her tossing litchi, his polishing the mirror, their love affair and elopement in rebelling against the ethics, all as the arrangements of the heaven, thus legalized their unethical behavior.In explaining the main theme, although the couple's views of love and marriage were initially different, her view immediately changed to his side after having intimate relations, so that they could be together forever. Even though this book seemed to describe the seeking of freedom in their love affair, it actually reflected that the heavenly mandate was the reason of their happy ending and negated the possibility of changing the environment and fate by individuals. However, the plots of tossing litchi, polishing mirror and the obstacles they encountered before their union, later became the emphasis of drama. It enhanced the image of this couple's seeking love and despising the power and influence of the earthly life. The recognition of the value of love as the main theme was exactly what made the love story of Chen San and Wu Niang unfailingly handed down from generation to generation.
期刊論文
1.張錦瑤(200706)。「情理對峙」與明代戲曲小說「西廂故事類型」的發展。逢甲人文社會學報,14,73-97。new window  延伸查詢new window
2.大塚秀高、謝碧霞(19850900)。明代後期文言小說刊行概況。中國書目季刊,19(2),60-75。new window  延伸查詢new window
3.蔡鐵民(1997)。一部民間傳說的歷史演變--談陳三五娘故事從史實到傳說、戲曲、小說的發展足跡。民間文學論壇,1997(2),35-40。  延伸查詢new window
學位論文
1.劉美芳(1993)。陳三五娘研究(碩士論文)。東吳大學。  延伸查詢new window
圖書
1.吳守禮(1970)。荔鏡記戲文研究。臺北:東方文化供應社。  延伸查詢new window
2.施炳華(2000)。《荔鏡記》音樂與語言之研究。臺北:文史哲出版社。  延伸查詢new window
3.劉天振(2006)。明代通俗類書研究。齊魯書社。  延伸查詢new window
4.陳國軍(2006)。明代志怪傳奇小說研究。天津古籍出版社。  延伸查詢new window
5.王安祈(19960000)。傳統戲曲的現代表現。臺北:里仁書局。new window  延伸查詢new window
6.郭英德(1997)。明清傳奇綜錄。石家莊:河北教育出版社。  延伸查詢new window
7.陳益源(1997)。元明中篇傳奇小說研究。學峰文化事業有限公司。  延伸查詢new window
8.錢南揚(2000)。戲文概論。台北:里仁。  延伸查詢new window
9.樂蘅軍(19920000)。意志與命運:中國古典小說世界觀綜論。臺北:大安。new window  延伸查詢new window
10.Timothy Brook、方駿等(1996)。縱樂的困惑:明朝的商業與文化。台北。  延伸查詢new window
11.Le Monde Chinois、黃建華 等(2008)。中國社會史。南京。  延伸查詢new window
12.薛汕(1997)。陳三五娘之箋。北京。  延伸查詢new window
13.陳益源(1997)。「荔鏡傳」考--陳三五娘故事小說形式的早期之作。民俗文化與民間文學。台北。  延伸查詢new window
 
 
 
 
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