本文關(guān)鍵詞： 清代長(zhǎng)篇敘事詩(shī) 南方唱書(shū) 曲藝說(shuō)唱 俗文學(xué)　出處：《山西大學(xué)》2016年博士論文　論文類型：學(xué)位論文

【摘要】：“唱書(shū)”是一種在清代流傳于南方沿江流域的曲藝表演形式,亦指其所使用的長(zhǎng)篇敘事詩(shī)說(shuō)唱文本(唱句的組成具有固定結(jié)構(gòu)、押韻規(guī)范)。“唱書(shū)”也被稱為“清代說(shuō)唱詞話”,其傳承自宋代“詞文”、元明“說(shuō)唱詞話”,在南方影響深遠(yuǎn),與清代北方最大的曲藝曲種“鼓詞”遙相對(duì)應(yīng)�！俺獣�(shū)”文本現(xiàn)存約600馀種,多為清代或民國(guó)時(shí)期的木刻、石印、手抄形式。其表演形式在沿江省份至今仍有流傳,并已進(jìn)入國(guó)家級(jí)“非物質(zhì)文化遺產(chǎn)”保護(hù)名錄�！扒宕戏匠獣�(shū)”,在整個(gè)清代傳統(tǒng)文化、俗文學(xué)、倫理道德、思想精神層面處于一個(gè)怎樣的地位呢?清代社會(huì),“因?yàn)槠矫竦闹R(shí)淺陋,識(shí)字不多,耳目所見(jiàn),只有這種唱書(shū)(曲本)世代相傳,遂成為一種不成文的‘法典’,無(wú)人能夠推翻。故兒子的孝事父母,妻妾的順事夫婿,臣下的忠事君主,仆傭的勤守職責(zé),皆從這種‘箴規(guī)類’的唱書(shū)(曲本)而來(lái),鼓吹鋪敘,深深刻入平民的心中而不可消滅”。①“唱書(shū)”所宣揚(yáng)的思想,全面滲透進(jìn)了清代平民的家庭與社會(huì)生活,在深入分析這一前提的基礎(chǔ)上,本論文旨在從多重角度入手,研究“清代南方唱書(shū)”的深層實(shí)質(zhì)內(nèi)容,并由此揭示出這些深層實(shí)質(zhì)內(nèi)容流傳久遠(yuǎn)的原因所在。本論文共分十一章：第一章緒論,闡釋了“清代南方唱書(shū)”的基本概念、選題緣起、前期研究成果綜述以及研究的價(jià)值與意義。第二章,在總結(jié)前輩學(xué)者研究成果的基礎(chǔ)上進(jìn)一步探討“清代南方唱書(shū)”與“清代說(shuō)唱詞話”的互證與銜接；第三、四章,以清代湖南、湖北、云南、貴州、四川地區(qū)的“唱書(shū)”為個(gè)案展開(kāi)對(duì)“清代南方唱書(shū)”的微觀研究；第五章,著力挖掘清末民初上海石印書(shū)局出版的“唱書(shū)”流傳情況。第六章,從句式、詞匯、方言等方面解讀清代南方唱書(shū)的文本特征；第七、八章,論述清代南方唱書(shū)的“元代社會(huì)記憶”與“當(dāng)代社會(huì)記憶”；第九章,厘清“清代南方唱書(shū)”的曲種變異;第十章,清代南方唱書(shū)所折射的底層民眾思想意識(shí)形態(tài)；第十一章結(jié)語(yǔ)。美國(guó)學(xué)者保羅·康納頓在他的《社會(huì)如何記憶》一書(shū)中曾提到“從口頭文化到書(shū)面文化的過(guò)渡,是從體化實(shí)踐(incorporating practices)到刻寫(xiě)實(shí)踐(inscribing practices)的過(guò)渡。文字的影響取決于這樣一個(gè)事實(shí)：用刻寫(xiě)傳遞的任何記述,被不可改變地固定下來(lái),其撰寫(xiě)過(guò)程就此截止�！雹谠诠P者看來(lái),“清代南方唱書(shū)”既是一種記載“體化實(shí)踐”的歷史“社會(huì)記憶”,也是一種記載清代“刻寫(xiě)實(shí)踐”的現(xiàn)當(dāng)代“社會(huì)記憶”。
[Abstract]:"Sing Book" is a kind of quyi performance form which was circulated in the southern river basin in the Qing Dynasty. It also refers to the long narrative poem rap text (the composition of the singing sentence has a fixed structure). Rhyme standard. "singing book" is also called "Qing Dynasty rap and singing words", which is inherited from Song Dynasty "ci Wen" and Yuan Ming Dynasty "rap and sing ci word", which has far-reaching influence in the south. "Drum ci", the largest kind of quyi song in the north of Qing Dynasty, corresponds to the distance. There are more than 600 kinds of "singing book" texts, most of which are woodcut, lithograph and handwritten form of Qing Dynasty or the Republic of China. Their performance forms are still circulating in the provinces along the Yangtze River. And has entered the national "intangible cultural heritage" protection list. "the south of the Qing Dynasty singing books", in the whole Qing Dynasty traditional culture, vulgar literature, ethics, ideological and spiritual level in a what position? In Qing Dynasty society, "because the common people have little knowledge, little literacy, and what they hear and see, only this kind of singing book (song book) has been handed down from generation to generation, thus becoming an unwritten 'code of', and no one can overthrow it. So the filial piety of the son, the obedient husband of his wife and concubine, The faithful monarchs, servants and maids, all of whom come from this kind of "pro rules" singing books (songs), preach narration and carve it deeply into the hearts of the common people, and cannot destroy the ideas proclaimed by "the Sing Book," On the basis of in-depth analysis of this premise, this paper aims to study the deep substance of the Song Shu in the South of Qing Dynasty from many angles. This paper is divided into eleven chapters: the first chapter introduces the basic concept of "the Southern Song Book of the Qing Dynasty", and the origin of the topic. Chapter two, on the basis of summarizing the previous scholars' research achievements, further discusses the mutual proof and cohesion of "the Southern singing Book of Qing Dynasty" and "Qing Dynasty Rap words"; Chapter three, four chapters, Taking Hunan, Hubei, Yunnan, Guizhou and Sichuan provinces in the Qing Dynasty as a case study, the microcosmic study of "singing Books in the South of Qing Dynasty"; Chapter 5th, Try to excavate the spread of "singing Book" published by Shanghai Shiyin Book Bureau in the late Qing Dynasty and early Republic of China. Chapter 6th, interpretation of the text characteristics of the Southern Song Book in Qing Dynasty from sentence structure, vocabulary, dialect, etc.; 7th, 8 chapters, This paper discusses the "Yuan Dynasty Social memory" and "Contemporary Social memory" of the Southern singing Books of Qing Dynasty; 9th chapters, clarifies the variation of the songs of the Southern Song Books of the Qing Dynasty; 10th chapters, the ideological ideology of the underclass people reflected by the Southern Song Books of the Qing Dynasty; American scholar Paul Connatton, in his book how Society remembers, said, "the transition from oral culture to written culture." It is the transition from practice to writing practice. The influence of words depends on the fact that any description transmitted by engraving is immutable, From the author's point of view, singing books in the south of Qing Dynasty is not only a kind of historical "social memory" which records "practice of writing", but also a kind of "social memory" which records the "writing practice" of Qing Dynasty.
【學(xué)位授予單位】：山西大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：I207.39
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本文編號(hào)：1550032