西游故事跨文本研究

【作者】 赵毓龙；

【导师】 孙逊；

【作者基本信息】 上海师范大学 ， 中国古代文学， 2013， 博士

【摘要】 “西游故事”是产生于上世纪初,近年愈来愈受到学人青睐的“准术语”,但学界至今未有以之为对象,全面深入的专题研究。本文拟以之为对象,以跨文本为视角,对其生成、演化历史作一相对完整而纵深的描述与分析。所谓“西游故事”,笔者以为,指以玄奘取经为本事生成、聚合而成的故事群落。它由猴王故事、游冥故事、进瓜故事、取经故事四大单元衔接而成。其中,首尾两单元为主体(尤以取经故事为主干),中间两单元为“车钩”,每大单元内部又包含若干小故事。该故事群落的生成、演化与强势传播,是多种文本形态对其反复重述、再现的综合结果,而以百回本《西游记》小说影响最为深巨,故以之最主要的历史参照系。但以往研究倾向以百回本为本位,或在横向上忽略、遮蔽其他文本形态的作用与贡献,或在纵向上将研说区间截至百回本以前,基本属于“切片”式研究。本文试图克服这种研说倾向的消极影响,故选取小说、戏曲、说唱三种文本形态为代表(尤以后两者为主),考察其在对故事“互文性阐释”活动中的共性规律及个性特征,从而尝试重建故事演化历史的真实生态。全文可分为两大部分,前四章为历史描述,后两章为个案考察。第一章“发轫期”,笔者以“释徒传记”与“文人笔记”为中心,描述故事在唐五代从本事到故事,进而实现传奇化、世俗化、小说化的过程。在以“史笔”自律的僧侣作者笔下,基于朴素的历史构造思维,原来以空间地域为线索的“记录”碎片,被编译进以时间为序的事件流程,成为故事。而在富于宗教幻想的僧侣作者笔下,在“伟其事而详其迹”的文学构造活动中,故事得到“神异化”与“戏剧化”加工,开始由历史传记向传奇故事蜕变。文人阶层是故事由寺院流向市廛的重要中介,文人笔记更是使故事由宗教历史故事转型为“小说家言”的主要媒介。它具有“公共文化底色”,在滤去大量宗教氤氲和历史尘霾的同时,大胆想象,尽意点染,形成不少小说兴味浓重的文本,并为后来故事群落贡献了若干经典桥段。第二章“聚合期”,笔者以宋金元时期的队戏、杂剧、南戏、平话、图册等文本为主要数据源,描述故事群落化、神魔化、通俗化的过程。从故事形态看,一方面取经故事内部逐渐衍生、裂变出更多“自源故事”,开始由“单细胞形态”向“多细胞形态”进化,另一方面许多于本事前后出现的“他源故事”,在经过一段时间的独立发育后,也开始与取经故事发生关联,并向后者聚合,由非西游故事、准西游故事蜕变成为西游故事。在这内外两种“生化反应”的作用下,取经故事最终得以从简单低级的“故事链条”,进化成为-个自成系统的大型“故事群落”；从故事类型看,故事逐渐摆脱了“神怪故事”那种以主人公为中心点,向四围吸纳、黏着各种怪力乱神元素的原始结构模式,伴随着以神魔冲突引发者、维持者、解决者为角色功能项的神魔人物的介入,以神魔斗法为主体或焦点的神魔情节的比例加重与品位提升,以及以三教混融为文化底色的神魔意蕴的形成,最终摆脱了宗教神话与文人志怪的茧蛹,蜕变成为典型的“神魔故事”。而从文化品位看,在通俗媒介文本的“互文性”重述、再现过程中,故事最终蜕变为通俗文艺作品。第三章“定型期",笔者以戏曲与说唱两大文本系统为中心,以百回本为主要参考系,考察明代西游戏与西游说唱重述、再现故事的情况,主要分为三个层面：明代西游戏对故事的多元化呈现；明代西游宝卷与故事的递进性关联；明代西游神书与对故事的地域化重述。通过对这三种文本(系统)的考察,可以看到故事在趋于定型的大趋势下,内部依旧复杂活跃的演化生态。第四章“赓续期",笔者以戏曲与说唱两大文本系统为中心,考察故事在后百回本时代的持续演化态势。以往学界对此区间不甚关注,而笔者通过文本考察发现：尽管大都受到百回本不同程度的影响,但基于媒介本身不同的艺术目的、表述习惯以及构造、传播者差异性的文化教养和艺术经验,不同文本对故事的重述、再现活动仍是各具特色的,如在“宫廷—民间”与“连套—单元”双重体式维度下的西游戏、以“加、减、置换”为构造方法的鼓词小段、以“描红、细镂、嫁接"为艺术手段的鼓词大段,以“戏谑”与“风情”为叙事兴奋点的西游子弟书等文本中,我们可见西游故事是怎样在特定艺术体式与民间构造思维中迤逦演化的。第五、六章,笔者分别以“江流和尚故事”与“刘全进瓜故事”为个案,将镜头推进至具体的单元故事上,对围绕其产生的戏曲、说唱文本进行了更为深入细致地梳理、比较。一方面发掘不同时代、体式文本之间的逻辑勾联,描述故事源流轨迹,嬗变过程；另一方面以其为典型,讨论不同文本系统“互文阐释”的差异性及其对故事形态的影响。更多还原

【Abstract】 Till now,"westward journey stories", this quasi-literary term which originated in the beginning of the20th century and gains more literati’s favor in recent years, has never had a comprehensive and in-depth study as a subject. Thus, this paper aims to describe and analyze the generation and evolution of "westward journey stories" relatively completely and deeply in a cross-textual vision.In my point, the "westward journey stories" means a story community produced and aggregated from tales of Xuanzang’s western pilgrimage for Buddhist scripture, which links up four parts:the plots of Monkey King, journey to hell, Liu Quan and pilgrimage for Buddhist scripture. The first and the last are main parts (especially the plot of pilgrimage for Buddhist scripture), and the middle two parts are couplers. Every part contains several stories.Generation, evolution and wide spread of the story community results from various text patterns to its repetition, reiteration and reproduction, among which this100-chapter version, Journey to the West influences most, which, therefore, becomes the most important frame of reference in history. However, in the past, literati always preferred researching based on the100-chapter version, neglecting and covering other versions’impact and contribution horizontally, or limiting research region before the beginning of100-chapter version, basically a "sliced" research. In order to lessen the bad influence of this research tendency, this thesis tries to have a research on common character and personality traits of "intertextuality explanation", presented as novel, drama and ballad literature, particularly the latter two, and thus mirror a true story evolution history.This paper has two parts, the first four chapters history description, and the last two case study.The first chapter is "initial period". Centered by "monk biography" and "literary notes", it describes evolution of story in Tang and Five Dynasties from original stories to stories, which then achieved romanticism, secularization and novelization. Some monk authors were self-disciplined on historical writing technique. In their writings, based on simple historically structural thinking,"recording" fragments clued by regions became stories at last through compiling them into time-sequenced flows of events. Whereas, some monk authors, who were full of religious illusions, preferred "overstating and detailing events" so that stories were polished up to "alienation" and "dramatics", transforming from historical biography to legendary.While literati class was an important medium for stories spreading from temples to towns, literary notes were an important medium from religious history stories to "novelists’ telling". Eliminating a great deal of religious dense and historical dust, it owned "under painting of public culture". Filled with imagination, it became the fascinating version for many novels, and offered some classical moments for later story communities.The second chapter is "polymeric period". Based on Duixi, Zaju, Nanxi, Pinghua, Tuce as main data source, it describes the story evolution of commodity, super nature and vulgar.According to story morphology, on one hand, the story of pilgrimage for Buddhist scripture derived and split more "self-derived stories" inside, changing from "single-cell" to "multicellular morphogenesis". On the other hand, some "borrowed stories" began to have a connection and aggregation with the story of pilgrimage for Buddhist scripture and evolve into "westward journey stories". In the effect of "biochemical reactions" inside and outside, the story of pilgrimage for Buddhist scripture finally generated to a large self-contained story commodity from simple and low-level "story links". In terms of story types, stories threw off the primitive model of gods and spirits, which was centered by the hero with odd, force, turmoil and deity. The magic plots focusing on outfoxing added and improved, along with the involvement of magical characters, such as the cause, vindicator and solver of magical conflicts. Meanwhile, magic implication had formed, with three religions as cultural under painting. In the end, like butterflies it transformed to "magic stories" from chrysalides of religious legends and zhiguai novels. When it comes to cultural taste, texts of popular medium were intertextually reiterated and reproduced, making stories change to popular literary works.The third chapter is "defining period". Centered on drama and ballad literature, these two textual systems, the paper investigates operas in Ming Dynasty and reiteration and reproduction of telling and singing about westward journeys, with the reference of the100-chapter version. It mainly has three levels:diversification of drama about westward journeys to stories, progressive connection between Baojuan of westward journeys in Ming Dynasty and stories and regional reiteration of Shenshu of westward journeys to stories. According to the three versions, it can be found the active and complex evolutionary ecology in the trend of finalizing stories.The third chapter is "consecutive period". Centered on drama and ballad literature, these two textual systems, the paper investigates continuous evolution of stories in the time of post-100-chapter version, once an academic blank. It is seen that through text research that in spite of different levels of influence from the100-chapter version, texts had distinctive features about reiteration and reproduction of stories, which were based on different artistic intents, expressing habits, culture and artistic experience. For instance, it is operas of westward journey that had double dimensions between the court and folk, riffs of Guci that were structured by "addition, subtraction and replacement", paragraphs of Guci that were expressed by "Miaohong, Xilou, Jiajie" and westward journey stories of disciples that were exciting because of banter and customs. From that, we can find how westward journey stories evolved in particular artistic forms and folk structural thinking.The5th and6th chapters zoom forward to specific unit stories, with the stories of "Jiangliu monks" and "Liuquan Jingua" as examples, around which this thesis sortes and compares the produced drama and ballad literature. On one side, we can dig out logic association of different times and versions to describe its transmutation; on the other side, with them as typical cases, we can discuss diversity of "intertextuality explanation" and influence to story forms.更多还原