本文選題：陜北說書　切入點(diǎn)：悲劇意識(shí)　出處：《陜西師范大學(xué)》2010年碩士論文

【摘要】： 陜北說書是我國(guó)西北地區(qū)十分重要的民間說唱藝術(shù),這種藝術(shù)的大部分優(yōu)秀作品都蘊(yùn)含著一種對(duì)生命和歷史無以名狀的蒼涼和悲哀感。這種深廣的悲劇意識(shí),完全可以和古希臘悲劇相提并論而無愧色。這么重要的學(xué)術(shù)生長(zhǎng)點(diǎn),卻為以往的研究者所忽視。本論文的主旨,就是通過對(duì)悲劇理論的梳理和陜北說書代表書目的解讀,對(duì)陜北說書悲劇意識(shí)的生成和表現(xiàn)形式等基礎(chǔ)性問題進(jìn)行初步的探討,并通過比較研究,對(duì)陜北說書悲劇意識(shí)的學(xué)術(shù)坐標(biāo)進(jìn)行初步的定位,從而填補(bǔ)這一研究空白,為豐富和發(fā)展民族悲劇意識(shí)添磚加瓦。 在第一章里,我們首先對(duì)人類共通的悲劇意識(shí)這一概念進(jìn)行了建構(gòu)和辨析。我們傾向于認(rèn)同程亞林先生的界說：悲劇意識(shí)是對(duì)人類生命在世生存的悲壯性的意識(shí)。我們接著又對(duì)悲劇與悲劇意識(shí)這一對(duì)常被混用的概念進(jìn)行了辨析,得出二者的區(qū)別有二：內(nèi)涵不同,悲劇是一種藝術(shù),而悲劇意識(shí)是一種人類精神意識(shí)；外延不同,悲劇包括悲劇意識(shí),悲劇意識(shí)是悲劇的要素之一。 在第二章這一主體章中,我們首先簡(jiǎn)要追溯了陜北說書悲劇意識(shí)的生成因子,接著詳細(xì)論述了陜北說書悲劇意識(shí)的具體表現(xiàn)形式。我們初步認(rèn)為陜北說書悲劇意識(shí)的形成因素至少有四個(gè)：惡劣的自然環(huán)境、游牧文化的影響、痛苦的歷史記憶和盲藝人的苦難意識(shí)。我們初步認(rèn)為陜北說書悲劇意識(shí)的表現(xiàn)形式主要有三種：一悲到底、絕無救贖(或日剛性悲劇意識(shí)),始悲終歡、亮色結(jié)尾(或曰柔性悲劇意識(shí))以及貌似大喜、實(shí)為大悲(或日隱性悲劇意識(shí))。 在第三章里,為了較為準(zhǔn)確地定位陜北說書悲劇意識(shí)的學(xué)術(shù)坐標(biāo),我們特選取古希臘悲劇與我國(guó)古典悲劇兩個(gè)橫縱參照軸,讓它們分別與陜北說書展開對(duì)話。受篇幅制約,我們以點(diǎn)帶面,首先讓陜北說書剛性悲劇意識(shí)的杰出代表《十不親》和古希臘命運(yùn)悲劇的典范之作《俄狄浦斯王》展開對(duì)話。對(duì)話的結(jié)果是：二者共通之處至少有兩點(diǎn)：都是一悲到底,絕無大團(tuán)圓結(jié)局之趣；都是絕望中的反抗,都有抗命意識(shí)。二者差異主要是,《十不親》在悲劇意識(shí)的橫向拓展方面更勝一籌,《俄狄浦斯王》在悲劇意識(shí)的縱向挖掘方面略占上風(fēng)。接著讓陜北說書柔性悲劇意識(shí)的范本《賣婆姨》和我國(guó)古典悲劇之冠《竇娥冤》展開對(duì)話。對(duì)話的結(jié)果是：二者共通之處也至少有兩點(diǎn)：都是悲喜交集,悲大于喜；都是團(tuán)圓結(jié)局,都有外力相助。二者差異主要是,《賣婆姨》在悲劇意識(shí)的廣度方面略勝一籌,《竇娥冤》在悲劇意識(shí)的深度方面棋高一著。實(shí)際上,共通之處也好,差異也罷,都是四劇展開歷史性平等對(duì)話的必要前提和學(xué)理基礎(chǔ)。 一言以蔽之,我們的結(jié)論是：就陜北說書優(yōu)秀作品所蘊(yùn)含的深廣悲劇意識(shí)而言,它完全可以列于世界大悲劇之列而無絲毫遜色。
[Abstract]:North Shaanxi storytelling is a very important folk rap art in Northwest China. Most of the excellent works of this art contain a sense of desolation and sadness for life and history.This profound sense of tragedy can be compared with the tragedy of ancient Greece.Such an important academic growth point has been ignored by previous researchers.The main purpose of this thesis is to make a preliminary discussion on the basic problems, such as the formation and manifestation of the tragic consciousness of the narrative books in Northern Shaanxi, through the combing of the tragedy theory and the interpretation of the bibliography of the representative books of the narrative books in Northern Shaanxi, and through the comparative study.The academic coordinate of the tragic consciousness of the storytelling in Northern Shaanxi is preliminarily positioned to fill the research blank and contribute to the enrichment and development of the national tragic consciousness.In the first chapter, we construct and discriminate the common sense of tragedy.We tend to agree with Mr. Cheng Yalin's definition that tragic consciousness is the consciousness of the tragic nature of human life.Then we analyze the concept of tragedy and tragedy consciousness, which are often used together, and find that there are two differences between them: tragedy is an art, tragedy is a kind of human spiritual consciousness, and its extension is different.Tragedy includes tragic consciousness, which is one of the elements of tragedy.In the second chapter of this main chapter, we first briefly trace the causes of the tragic consciousness of the narrative book in Northern Shaanxi, and then discuss in detail the specific forms of expression of the tragic consciousness of the narrative book in the north part of Shaanxi Province.We preliminarily believe that there are at least four factors forming the tragic consciousness of the storytelling in Northern Shaanxi: the harsh natural environment, the influence of nomadic culture, the painful historical memory and the consciousness of suffering of blind artists.We preliminarily believe that there are three main forms of the tragic consciousness of the storytelling in Northern Shaanxi: one is that there is no salvation (or rigid tragic consciousness), the beginning is sad, the end is sad, the bright ending (or the soft tragic consciousness) and the appearance of great joy.In fact, it is a great tragedy (or a hidden tragic consciousness of the day).In the third chapter, in order to accurately locate the academic coordinate of the tragic consciousness of the storytelling in Northern Shaanxi, we select two horizontal and vertical reference axes of ancient Greek tragedy and Chinese classical tragedy, and let them have a dialogue with the narrative books of Northern Shaanxi respectively.Under the restriction of space, first of all, we let the outstanding representative of the rigid tragic consciousness of the storytelling in Northern Shaanxi, "Ten not close" and the example of the tragedy of ancient Greece, "King Oedipus" to open a dialogue.The result of the dialogue is that there are at least two things in common: a sad ending, no happy ending, revolt in despair and a sense of disobedience.The main difference between the two is that "Ten not related" is superior in the horizontal expansion of tragedy consciousness, and "Oedipus" has the advantage in the longitudinal excavation of tragedy consciousness.Then let the model of soft tragedy consciousness in the storytelling of Northern Shaanxi, "Aunt Sale", and the crown of Chinese classical tragedy, "Dou E's injustice", to open a dialogue.The result of the dialogue is that there are at least two things in common: both sorrows and joys and sorrows are greater than joys; they are happy endings and both have external forces to help.The main difference between the two is that "Aunt Sale" is a little superior in the breadth of tragedy consciousness, and "Dou E's injustice" is a great achievement in the depth of tragedy consciousness.In fact, whether it is common or different, it is the necessary premise and theoretical basis for the four plays to carry out the historic equal dialogue.In a word, our conclusion is that as far as the profound and extensive tragic consciousness contained in the excellent works of the storytelling in Northern Shaanxi is concerned, it can be listed as one of the great tragedies in the world without inferior to the others.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J826

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本文編號(hào)：1705839