本文選題：清末　切入點(diǎn)：相聲　出處：《河北大學(xué)》2011年碩士論文　論文類型：學(xué)位論文

【摘要】：相聲是中華民族古老而新潮的至寶,是本土幽默文化的集中體現(xiàn)。然而在其產(chǎn)生后很長(zhǎng)的一段時(shí)間里并未得到重視,致使專門記載這門技藝的材料少之又少,因而相聲“可溯之史長(zhǎng),可證之史短”。多數(shù)相聲史論著中并未對(duì)相聲的產(chǎn)生做出較為明確的解釋,本文以歷史為主線梳理出幽默文化的脈絡(luò)從而引出相聲這一形式,并進(jìn)一步分析相聲產(chǎn)生的外部和內(nèi)部因素,探尋相聲文本對(duì)傳統(tǒng)文學(xué)各個(gè)形式的繼承。 本論文分為三章,第一章以歷史為線索,梳理出幽默文化的歷史脈絡(luò)。從橫向看來(lái),因每個(gè)朝代的思想和文化的不同,幽默文化的表現(xiàn)形式也各有千秋。從縱向看來(lái),這些幽默形式在逐漸深入地反映人們喜好娛樂(lè)的天性,也一步步從虛幻逐漸走向現(xiàn)實(shí)生活。第二章匯編了相聲鼻祖的生平和部分作品,并對(duì)演出場(chǎng)地的變遷進(jìn)行描述。之后探討相聲這一曲藝產(chǎn)生的原因。將原因分為外部和內(nèi)部?jī)煞N類型。外部因素為滿族善于說(shuō)唱的習(xí)俗,北京的地域文化,市民文化以及當(dāng)時(shí)社會(huì)局面等。內(nèi)部因素包括口技與相聲的聯(lián)系,八角鼓,京劇等藝術(shù)形式的轉(zhuǎn)化,還有對(duì)傳統(tǒng)笑話的改編等。第三章探討相聲文本對(duì)古代文學(xué)各種形式的繼承,包括詩(shī)文,俗賦,白話小說(shuō),語(yǔ)言文字游戲等對(duì)相聲文本的影響。最后得出結(jié)論：相聲集中體現(xiàn)了千百年來(lái)的幽默文化,相聲的產(chǎn)生是在漫長(zhǎng)的幽默史的背景下,在清末這一曲藝盛行之時(shí),通過(guò)若干種曲藝的裂變和整合而產(chǎn)生的。它的產(chǎn)生跟北京的地理,民族,市井文化有著直接的關(guān)系,它的發(fā)展和壯大則依靠于傳統(tǒng)文學(xué)的滋養(yǎng)。
[Abstract]:Crosstalk is an ancient and trendy treasure of the Chinese nation and a concentrated embodiment of the local culture of humor. However, it has not been taken seriously for a long time after its emergence, resulting in the scarcity of materials dedicated to recording this skill. As a result, crosstalk "can be traced back to a long history, but a short history can be proved." most of the cross-talk historical works do not give a relatively clear explanation for the production of crosstalk. This paper, taking history as the main line, combs out the context of humor culture and leads to the form of crosstalk. Furthermore, it analyzes the external and internal factors of crosstalk, and explores the inheritance of crosstalk texts to various forms of traditional literature. This thesis is divided into three chapters. The first chapter combs out the historical context of humor culture with the clue of history. From a horizontal point of view, because of the different thoughts and cultures of each dynasty, the forms of expression of humor culture are different from the vertical point of view. These forms of humor gradually reflect the nature of people's interest in entertainment, and gradually move from illusion to real life. Chapter two compiles the lives and some works of the crosstalk ancestors. Then it discusses the causes of crosstalk, which is divided into two types: external and internal. The external factors are the custom of Manchu people who are good at rap, and the regional culture of Beijing. Civic culture and the social situation at that time. Internal factors include the connection between oral skills and crosstalk, the transformation of artistic forms such as octagonal drums, Peking Opera, etc. Chapter three discusses the inheritance of crosstalk texts to various forms of ancient literature, including poetry and prose, folk Fu, vernacular novels, etc. Finally, it is concluded that crosstalk embodies the culture of humor for thousands of years. Under the background of the long history of humor, crosstalk came into being in the late Qing Dynasty when the quyi art prevailed. Through the fission and integration of several kinds of quyi art, it is directly related to Beijing's geography, nationality and market culture, and its development and growth depend on the nourishment of traditional literature.
【學(xué)位授予單位】：河北大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J826

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本文編號(hào)：1644052