本文關鍵詞：唐宋小說女俠形象的比較研究　出處：《陜西師范大學》2014年碩士論文　論文類型：學位論文

  更多相關文章： 唐宋小說 女俠形象 繼承與異變 時代變化 文人心態(tài)

【摘要】：自春秋戰(zhàn)國時期“俠”之觀念出現始,在有關俠的文學作品中,男俠是主要描寫對象,描寫女俠的作品則相對沉寂。至小說發(fā)展的第一個高峰時期,即唐代,女俠形象第一次較大規(guī)模地登上了文學的舞臺并取得了極大地發(fā)展,女俠形象乃是文人有意創(chuàng)作,女俠作品也開始集中出現。唐代開明的政治、經濟、文化政策以及與各少數民族文化的相互融合都為女俠作品的出現提供了條件。而唐代的女俠作品集中出現于中晚唐這一時段,這與當時特定的社會環(huán)境密切相關。中晚唐時期藩鎮(zhèn)林立,黨爭不斷,黑暗的現實環(huán)境呼喚俠士的出現,且戰(zhàn)亂導致大量青壯男子喪生的現實使得女性在家庭與社會中承擔著更為重要的責任,女性地位得到了提高。唐代城市經濟的繁榮促使娛樂活動特別是雜技大興,安史之亂后雜技由宮廷流入市井,其表演方式為女俠技藝提供了借鑒與參考；而彌漫于唐代士子中的好奇的審美觀念也是促使女俠形象的出現的原因之一。 與唐代女俠作品相比,宋代小說中的女俠作品則較為遜色,歷來的評價也并不高,但宋代女俠作品也賦予了女俠新的形象,如在《俠婦人》中,作者第一次將女性與“俠”字相連,正面承認了女性行俠這一現象。因為時代相近,宋代女俠作品在情節(jié)描寫與形象塑造等方面對唐代作品有所繼承,但同時也有其獨特之處。如果說唐代女俠所體現出的是一種張揚、自信、獨立的個性魅力,宋代女俠則性格較為內斂而缺少自我意識；相對于唐代女俠積極參與社會政治活動的行為且具有明顯的俠之品格,宋代女俠則更像中國傳統(tǒng)社會中的世俗女性,囿于家庭之中,以丈夫為中心,賢良淑慧；在婚戀上,不同于唐代女俠的大膽、獨立與蔑視世俗,宋代女俠則更加符合社會道德倫理規(guī)范,更加隱忍與退讓。 由唐至宋,社會環(huán)境發(fā)生了改變,由崇武而尊文,女性地位由高轉低；而文人的整體心態(tài)漸趨內斂,重理節(jié)情,重視道德自律。唐宋兩代時間相連,然而女俠形象卻有著很大相異之處,便是由唐宋兩代不同的社會環(huán)境背景以及不同的文人心態(tài)造成的。
[Abstract]:Since the emergence of the concept of "chivalrous" in the period of Spring and Autumn and warring States, in the literary works about chivalrous, the male chivalrous is the main object of description, and the work describing the female chivalrous is relatively silent, to the first peak period of the novel development, namely the Tang Dynasty. For the first time, the female chivalrous image appeared on the stage of literature on a relatively large scale and made great progress. The female chivalrous image was created intentionally by the literati, and the female chivalrous works also began to concentrate. The enlightened politics and economy of the Tang Dynasty. The cultural policy and the fusion with the culture of various ethnic minorities all provide the conditions for the appearance of the female chivalrous works, while the collection of the female chivalrous works of the Tang Dynasty appeared in the middle and late Tang Dynasty. This is closely related to the specific social environment at that time. In the middle and late Tang Dynasty, there were numerous towns in San Francisco, the party was constantly fighting, and the dark realistic environment called for the emergence of chivalrous men. And the fact that the war led to the death of a large number of young and strong men makes women bear more important responsibilities in the family and society. The prosperity of the city economy in the Tang Dynasty prompted entertainment activities especially acrobatics to flourish, and acrobatics flowed into the city from the court after the Anshi Rebellion, which provided reference and reference for the women's chivalrous skills. And the curious aesthetic idea that pervades the Tang Dynasty scholar is also one of the reasons that impedes the appearance of the female chivalrous image. Compared with the female chivalrous works of the Tang Dynasty, the female chivalrous works in the Song Dynasty are inferior, and the evaluation is not high. However, the female chivalrous works of the Song Dynasty have also given a new image to the female chivalrous, such as in "the woman of the Warrior". The author, for the first time, connects women with the word "chivalrous", and acknowledges the phenomenon of "female walkers". Because of the similar times, the female chivalrous works of the Song Dynasty inherit the works of Tang Dynasty in terms of plot description and image creation. But at the same time, it has its own unique features. If the Tang Dynasty female chivalrous reflects a kind of publicity, self-confidence, independent personality charm, the Song Dynasty female chivalrous character is more introverted and lack of self-consciousness; Compared with the behavior of the women in the Tang Dynasty who took an active part in the social and political activities and had obvious chivalrous character, the female knights of the Song Dynasty were more like secular women in the traditional Chinese society, confined to the family, taking the husband as the center, virtuous, virtuous, and so on. In love and marriage, different from the bold, independent and disdain of the Tang Dynasty, the Song Dynasty female chivalrous is more in line with the social moral and ethical norms, more forbearance and concessions. From Tang Dynasty to Song Dynasty, the social environment changed, from worshipping martial arts to respecting literature, and female status changed from high to low; The overall mentality of the literati gradually tends to be introverted, rearranging the sentiment, and attaching importance to moral self-discipline. The Tang and Song dynasties are connected by time, but the image of the woman chivalrous has a lot of differences. It is caused by different social environment and different literati mentality in Tang and Song dynasties.
【學位授予單位】：陜西師范大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：I207.41

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相關期刊論文 前1條

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本文編號：1378646