本文選題：“三言”　切入點(diǎn)：空間敘事　出處：《山西師范大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：20世紀(jì)80年代以來,隨著敘事學(xué)的空間轉(zhuǎn)向,我國古典文學(xué)作品中的空間問題逐漸得到關(guān)注。馮夢龍編纂的“三言”(即《喻世明言》、《警世通言》、《醒世恒言》)是我國古代文學(xué)史上最有成就的白話短篇小說集,對(duì)其空間敘事的研究無疑具有重大意義。從小說的各篇篇目來看,共有32篇點(diǎn)出了故事發(fā)生的地點(diǎn),如《閑云庵阮三償怨債》、《趙伯升茶肆遇仁宗》、《陳從善梅嶺失妻》、《鬧樊樓多情周勝仙》等;從其文本內(nèi)容看,據(jù)筆者統(tǒng)計(jì),文本中描寫酒店茶肆、寺廟道觀、水上江船、官府衙門等地點(diǎn)場所的分別有50、52、38、46篇,52篇涉及夢境描寫,此外,還有多處講到讖言、簽詞、卦語、偈語、異象、仙鏡、地府等,120篇作品卻呈現(xiàn)出這些共同性特征,顯示了作者創(chuàng)作時(shí)強(qiáng)烈的空間意識(shí),為探究“三言”的空間敘事提供了可能。本論文分四部分展開對(duì)“三言”空間敘事的探析。在分析之前,首先對(duì)本論文的研究對(duì)象進(jìn)行了界定,包括情節(jié)場景發(fā)生地點(diǎn)或場所的實(shí)體空間與基于實(shí)體空間又超越實(shí)體空間的意識(shí)空間,在文本中以現(xiàn)實(shí)空間與非現(xiàn)實(shí)空間兩大類來展開探究。其次,梳理了與本論題有關(guān)的研究現(xiàn)狀,以對(duì)“三言”研究和古代小說中的空間敘事研究有一個(gè)全面把握。第一部分著重從儒釋道三家思想方面探討古代空間意識(shí)的哲學(xué)淵源,總結(jié)出古人的空間觀特點(diǎn),并對(duì)在此空間觀念影響下創(chuàng)作出的小說的空間敘事特點(diǎn)進(jìn)行了梳理。第二部分關(guān)于現(xiàn)實(shí)空間,從兩個(gè)方面進(jìn)行分析:第一,現(xiàn)實(shí)空間構(gòu)成的主要類型。它是指頻繁出現(xiàn)的眾多酒店茶肆、寺廟道觀、水上江船、官府衙門等空間,探究了其原因及文化意涵。第二,四大空間的敘事功能。它們?cè)谖谋窘Y(jié)構(gòu)中具有推動(dòng)情節(jié)發(fā)展、塑造人物性格、深化與完整主題的作用。第三部分關(guān)于非現(xiàn)實(shí)空間,從兩個(gè)方面進(jìn)行論述:第一,非現(xiàn)實(shí)空間的生成及其主要表現(xiàn)類型。非現(xiàn)實(shí)空間出現(xiàn)的思想基礎(chǔ)是古人的天人感應(yīng)觀、佛道思想及民間信仰等,表現(xiàn)形式的主要類型為夢幻空間、讖緯空間、仙宮地府等。第二,非現(xiàn)實(shí)空間的作用。它們常常是情節(jié)發(fā)展的線索,并對(duì)人物命運(yùn)具有暗示作用,顯示出一種支配民眾命運(yùn)的神秘異己力量。第四部分,論述了“三言”空間敘事的技巧:其一,壓縮時(shí)間、突出空間的時(shí)空關(guān)系;其二,敘事空間的直接轉(zhuǎn)換和間接轉(zhuǎn)換協(xié)同配合下的敘事空間轉(zhuǎn)換技巧。通過這四部分內(nèi)容的闡釋,筆者試圖建立起“三言”空間敘事的框架,并期待能夠以此為窗口探究古典白話小說的空間敘事特點(diǎn),為古典小說空間問題的理論建構(gòu)盡自己的微薄之力。
[Abstract]:Since the 1980s, with the spatial shift of narratology, The space problem in the classical literature works of our country has been paid more and more attention. Feng Menglong's "three words" (that is, "Yu Shi Ming Yan", "warning word", "wake up the world forever") is the most successful collection of vernacular short stories in the history of ancient Chinese literature. There is no doubt that the study of its spatial narration is of great significance. From the various contents of the novel, there are 32 articles that point out where the story took place. For example, "three resentful debts", "Zhao Bosheng's tea shop meets Ren Zong", "Chen Congshan Meiling lost wife", "making Fan-lou affectionate Zhou Shengxian" and so on; from the content of his text, according to the author's statistics, the text describes hotel tea shops, temples, Taoist temples, river boats, etc. There are 50, 522, 3846, and 52 articles on the description of dreams in the government offices and other places. In addition, there are more than 120 works about prophecy, signs, hexagrams, verse, vision, immortals, prefectures, etc., which show these common features. It shows the strong spatial consciousness of the author, which provides the possibility to explore the spatial narration of "three words". This paper is divided into four parts to analyze the space narrative of "three words". First of all, the research object of this paper is defined, including the physical space of the place or place of the plot scene and the consciousness space based on the entity space and transcending the entity space. In the text to explore the two categories of real space and non-realistic space. Secondly, combing the current situation of research related to this topic, The first part focuses on the philosophical origin of ancient space consciousness from three aspects of Confucianism, Buddhism and Taoism, and summarizes the characteristics of the ancients' space concept. And the space narrative characteristics of the novels created under the influence of the concept of space are combed. The second part analyzes the real space from two aspects: first, The main types of real space. It refers to the frequent appearance of many hotels, tea shops, temples, temples, river boats, government offices and other space, to explore its causes and cultural implications. Second, The narrative function of four big spaces. They have the function of promoting plot development, shaping character, deepening and complete theme in the text structure. The third part discusses the non-realistic space from two aspects: first, The ideological basis of the appearance of the non-realistic space is the ancients' perception of Heaven and Man, the thought of Buddhism and Taoism and the folk belief, and the main forms of expression are dream space, prophecy space, and so on. The role of impractical space. They are often clues to the development of the plot, and have implications for the fate of the characters, showing a mysterious dissident power that dominates the fate of the people. Part four, This paper discusses the techniques of space narration in "three words": first, compressing time to highlight the space-time relationship of space; secondly, the skill of space conversion of narrative space, which is coordinated by direct and indirect transformation of narrative space. The author tries to set up the frame of "three words" spatial narrative, and looks forward to exploring the spatial narrative characteristics of classical vernacular novels by using this as a window, so as to contribute to the theoretical construction of space problems in classical novels.
【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.41

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