【作者】 付岩志；

【导师】 王平；

【作者基本信息】 山东大学 ， 中国古代文学， 2007， 博士

【摘要】 《聊斋志异》出自清顺治、康熙年间山东淄博一个秀才——蒲松龄之手。他穷困潦倒、科场失意、命运淹蹇，还有一些中国传统知识分子愤世嫉俗的性格，如果没有《聊斋志异》这本书，也算波澜不惊、平淡无奇的一个人。但这本书作为中国文言小说的一座高峰，为他赢得了许多同代人难以企及的文学声誉和历史地位。《聊斋志异》对后来的文学发展产生了重要影响。从蒲松龄开始创作《聊斋志异》到二十一世纪的今天，人们对《聊斋志异》的看法和态度经历了曲折的变化过程，对《聊斋志异》的诠释和解读呈现出不同面貌。在清代，人们主要从伦理道德和社会历史的角度进行认识，或者侧重于蒲松龄搜神志怪、谈狐说鬼的才情，或者侧重于蒲松龄牢落不平、孤独愤懑的情感状态，或者侧重于《聊斋志异》反映社会道德理想、有益世道人心的作用。二十世纪以来，人们则努力使《聊斋志异》融入现代化的历史进程中，从政治、文化、心理等方面进行认识，或者把《聊斋志异》与当下时代的政治需要结合起来，或者力图揭示《聊斋志异》所内含的文化意义和民族心理特征。在历史的流转中，《聊斋志异》的经典性地位逐步得到确立，成为清代文言小说的代表，它所内含的特定的文化因素沉淀为人们日常生活中的文化符号。说起花妖狐魅、树精鬼女，人们就会想起《聊斋志异》，谈到画皮的怪物、《倩女幽魂》以及课本中学过的《狼》、《促织》，人们就会认为它们来自于蒲松龄写的《聊斋志异》。诠释学理论对我国现当代人文社会科学产生了重要影响，它作为西方关于理解和阐释的一种理论，在其历史发展过程中，以“意义”为中心，对作者、读者和文本等因素的作用都有所阐述，对人们理解、阐释文学作品具有启发性意义。把诠释学理论与《聊斋志异》诠释现象结合起来进行研究，对于我们理清《聊斋志异》诠释脉络、总结发展规律、促进《聊斋志异》研究的进一步发展具有重要的理论和现实意义。全文共分五章：第一章，导论。简要介绍论文的选题背景及意义，对国内外相关研究成果进行综述，界定本论文的研究范围、研究方法和篇章结构，并指出论文的创新与不足。第二章，诠释学理论与《聊斋志异》研究。本章对诠释学理论的发展进行了简要回顾，把诠释学理论的历史发展分为作为认识论的诠释学、作为本体论的诠释学、本体论之后的诠释学新进展三个阶段，对每个阶段的代表人物和主要观点进行了介绍和分析。接下来确定了我们如何应用这种理论，即把这种理论应用到中国古代文学作品分析时如何使之具有更好的适用性。我们认为：文本是诠释的基础，读者是诠释的重点，作者意图是诠释的重要参考坐标，而如何从哲学层面上认识“真理性”则是《聊斋志异》诠释史论的核心问题。具体到《聊斋志异》诠释，分析了《聊斋志异》为何“被诠释”、如何“被诠释”，影响《聊斋志异》诠释的因素有哪些，对《聊斋志异》诠释史做了概观。第三章，清代《聊斋志异》诠释。本章首先确定了《聊斋志异》在我国文言小说史上的坐标，对文言小说的创作与发展进行了简要回顾和概括。蒲松龄作为封建社会中的传统文人，一生热衷举业，其生活道路、思想观念及文学创作与当时的文教政策之间关系密切。因此，确立《聊斋志异》在文言小说史上的坐标之后，本章对清初的文教政策进行了分析，以此作为《聊斋志异》产生的背景性因素。作者的意图虽在作品创作完成之后就被读者悬置起来，但它作为作者创作过程中的意识和动机，是客观存在的。本章力图以对《聊斋自志》与“异史氏曰”的分类细读来贴近蒲松龄的创作意图，虽不能完全等同，但有相通之处。在此基础上，梳理出清代《聊斋志异》诠释的三种主流观点：道德劝惩说、寄托孤愤说与游戏娱情说，分别说明其诠释者、诠释方式、诠释途径等，并对纪昀的“一书兼二体”进行了分析，指出它兼有文学形式与思想内容双重批评的深层内涵。本章还把《聊斋志异图咏》中的图咏诗作为一种特殊的诠释形态进行了分类研究，对其中的创造性诠释给予了特殊的关注。第四章，二十世纪以来《聊斋志异》诠释。二十世纪以来的《聊斋志异》诠释，其根本特征是使《聊斋志异》不断进入现代化的历史范畴。在此基础上，总结了《聊斋志异》诠释三个方面的主要动因和七个方面的基本特征。二十世纪以来中国社会历史的发展一般分为二十世纪前期、建国后到八十年代以及新时期以来三个阶段，由于《聊斋志异》诠释比较明显地受到了时代风气的影响，显示出时代演进的特征，因此，本章按这三个阶段对二十世纪以来《聊斋志异》诠释进行了概括与分析，分别指出它们各自的特点和观点，以及它们之间互相影响、演进更迭的关系。此外，本章对二十世纪以来《聊斋志异》的文学史书写给予了关注，按照其中包含的传统文学史观、进化论史观和唯物史观以及新时期以来《聊斋志异》文学史书写的新探索为线索，梳理出其发展变化的脉络，举其要者进行了分析，展示人们对《聊斋志异》诠释的一个重要侧面。第五章，《聊斋志异》海外诠释。《聊斋志异》海外诠释是以《聊斋志异》的海外传播为基础的。本章分二十世纪之前与二十世纪以来两个时间段对《聊斋志异》海外传播情况进行了概述，使《聊斋志异》海外诠释分析具有扎实的文本基础。在此基础上，对《聊斋志异》海外诠释进行了宏观和微观两个层面的分析。宏观层面是对《聊斋志异》海外诠释进行总体把握，抽绎出六种诠释观点；微观层面是以美国《聊斋志异》诠释为例，介绍《聊斋志异》在美国诠释的五个角度，对其中的社会学、心理学和经济学角度进行了具体分析。本章还结合《聊斋志异》描写及其海外诠释，分析了中外文化交流中的三种文化心态。最后提出，我们既要拿来外国文化对《聊斋志异》做出新诠释，使我们看到“他人眼中的我”，又要在互诠互释中推介、宣传《聊斋志异》，更好地展示《聊斋志异》所包含的中国文化因素，以文学作品的传播和诠释促进文化之间的沟通与发展。结论。对于《聊斋志异》纷繁复杂的诠释现象，我们要坚持求“和”不求“同”的基本态度。既不追求整齐划一的声音，把某种言论定于一尊，对一种方法排斥压制另一种方法的现象要保持警惕，提倡涵容异说和多向拓展；又要反对从多向拓展走向多元分割，提倡观点之间的理性对话和深度交流，避免在浮躁喧嚣中走向新的形而上学。同时，要鼓励结合时代发展进行有理有据的“创造性诠释”，使得《聊斋志异》诠释随着时代发展能够实现“创造性转化”。更多还原

【Abstract】 Strange Stories from a Chinese Studio was written by Pu Songling during the period ruled by Shunzhi and Kangxi of early Qing dynasty. He was born in Zibo of Shandong. He lived a poor life, and failed in most tests. However, he had a cynical character. If he had not written this book, he would have been an ordinary man. Being the peak of ancient Chinese Classical stories, this book brought him with a very high reputation. Strange Stories from a Chinese Studio has a great influence on late literature. The understanding and attitude toward Strange Stories from a Chinese Studio underwent a tortuous change from Pu Songling’s creation to the twenty-first century and it took on a different looks.In Qing Dynasty, Strange Stories from a Chinese Studio was understood from the point view of ethics and social history: some focused on the talents of the author who told the ghost stories, some focused on the whining, lonely emotions of the author, some focused on the converting function of morality.Since twenty century, the interpretation of Strange Stories from a Chinese Studio modernized from the political, cultural, and psychological perspective. Some interpretations carried on from the politics at that time, some researched on the cultural significance and national psychology from within.Strange Stories from a Chinese Studio became one of the classic works and the representative of Chinese literary stories in Qing Dynasty as time passed by. Some stories and characters became the cultural signals such as Soul Leaving of a Beauty, Wolves and Crickets.Hermeneutics has a great impact on the Chinese social humanities. It centered on the meaning, gave explanations on author, readers and texts, and inspired the understanding and interpretation of the literature. The combination of hermeneutics and Strange Stories from a Chinese Studio is helpful in clearing the thread of the interpretation history, drawing the development law and making a further study on the Strange Stories from a Chinese Studio. Therefore, it carries a theoretical and practical significance.The thesis is divided into five chapters: Chapter one is the Introduction. It tells the subject background and its significance, presents a summary of the past achievements home and abroad, and points out the research range, methods, the structure, creations and shortcomings.Chapter two focuses on the relationship between hermeneutics and the interpretations of Strange Stories from a Chinese Studio. First, the hermeneutics history is outlined. It was divided into three stages including epistemology, ontology, and new development. Second, how to apply this theory was discussed: the text is a basis; readers are the focus, while the intention of the author is an important reference coefficient. The core question of this thesis is how to grasp the meaning of Strange Stories from a Chinese Studio from philosophy. The concrete questions included why and how to interpret the Stories, and made an outline of the interpretation history of the Stories.Chapter three is focused on the interpretation of the Stories in Qing Dynasty. First, this chapter decided the position of Strange Stories from a Chinese Studio in Chinese story history, and looked back and outlined the creation and development of the literal story. Pu Song-ling who was a traditional intellectual in the feudal society was keen on the court test, therefore his life, ideology, and literary creation had a close relationship with the education policy at that time. After that, the thesis made an analysis of the education policy in Qing Dynasty, which was the background of the creation of Strange Stories from a Chinese Studio. The intention of the author was suspended after its completion, but it was objective as the ideology and motivation of the author. The commentary in the end of the Stories reflected the thought of the author though they were not the writing intention of the writer. There were three kinds of the interpretations on Strange Stories from a Chinese Studio in Qing Dynasty: exhortation, lonely anger, and entertainment. During the analysis, the interpreter, interpretation methods, and interpretation types were dwelled on.Ji Yun’s commentary on Strange Stories from a Chinese Studio shared both the literary form and the contents. The picture poems in the book were also sorted out, and the creative interpretation in them was paid a special attention to.Chapter four Interpretation of Strange Stories from a Chinese Studio from a Chinese Studio since the 1900s The main characteristics of the interpretation of Strange Stories from a Chinese Studio from a Chinese Studio since the 1900s enter the historical category of modernization gradually. On this basis, the paper summarizes three main causes and seven basic characteristics of the interpretation of Strange Stories from a Chinese Studio from a Chinese Studio. The mainstream views consider that the interpretation of Strange Stories from a Chinese Studio from a Chinese Studio has been obviously influenced by a general mood of different eras and has shown a trend of time evolution. As is known, the history of China’s development since the 1900s can be divided into three stages which are the earlier stage of the 1900s, the stage between the foundation of China and 1980s, and the stage since the new era. Therefore, this chapter summarizes different views of the interpretation of Strange Stories from a Chinese Studio from a Chinese Studio and analyzes their interacting relations by these three stages. Moreover, style of writing of the literature history of Strange Stories from a Chinese Studio from a Chinese Studio since the 1900s has also been paid attention to. Taking the view of traditional literature history, evolutionism, materialistic interpretation of history and the new exploratory the writing style of Strange Stories from a Chinese Studio from a Chinese Studio since the new era as the clue, the paper combs its sequence of ideas and analyses some examples to show one important aspect of the interpretation of Strange Stories from a Chinese Studio from a Chinese Studio.Chapter five Overseas interpretation of Strange Stories from a Chinese Studio from a Chinese StudioAbroad interpretation of Strange Stories from a Chinese Studio from a Chinese Studio is on its basis of spreading abroad. The paper first gives an outline of the spreading abroad of Strange Stories from a Chinese Studio from a Chinese Studio by two stages: the stage before the 1900s and after the 1900s, then analyzes it at macroscopic and microscopic horizons, and the former is to make an general grasp of the abroad interpretation of Strange Stories from a Chinese Studio from a Chinese Studio and to clarify six commentary views, while the latter is to introduce five aspects of the American interpretations of Strange Stories from a Chinese Studio from a Chinese Studio and to make an concrete analysis from the aspect of sociology, psychology and economics, taking the American interpretations of Strange Stories from a Chinese Studio from a Chinese Studio as an example. The paper also analyzes three cultural attitudes in the course of the culture exchange between China and overseas, combining the depictions and its abroad interpretation of Strange Stories from a Chinese Studio from a Chinese Studio. Finally, the author brings forth that we should not only treat the new commentary of Strange Stories from a Chinese Studio from a Chinese Studio by foreign cultures pertinently, but also propagandize actively the interpretation Strange Stories from a Chinese Studio from a Chinese Studio by Chinese scholars to promote the prosperity and development of different cultures by the way of culture spread and literature interpretation.The conclusions are: the diverse attitude should be taken towards the interpretation of the Stories. Pursue neither one voice, nor more standards. Rational dialogue was advocated, and new metaphysics should be avoided. At the same time creative interpretations with the times characteristics should be encouraged in order to realize the creative transformation in the understanding of the Strange Stories from a Chinese Studio.更多还原