《红楼梦》评点研究

【作者】 吴晓风；

【导师】 黄霖；

【作者基本信息】 复旦大学 ， 中国古代文学， 2007， 博士

【摘要】 评点是我国古代文学批评的一种重要的形式，明万历以来评点广泛地运用于小说戏曲中，尤其是小说的评点在明清之际成为评点史上一道独特的风景。《红楼梦》的评点继承了明末清初李贽、金圣叹、毛宗岗以及张竹坡等评点家的小说理论，在对《红楼梦》这一经典小说文本进行评述的过程中形成了自己的理论特色。本论文以乾隆甲戌年(1754)脂砚斋评点到1938年完成的王伯沆评点十余种《红楼梦》评本为对象，对涉及到小说理论方面的论述进行了综合的考察，分主题、人物品评、艺术技巧三个方面进行了系统的整理和评述。本文分为四个部分：第一部分是《红楼梦》评点的崛起。论述了小说评点的发展、兴盛、《红楼梦》评点的勃兴以及《红楼梦》评点本与评点形态论主题部分从“教化”说、“悟空”说、“泄愤”说以及“谈情”说四个方面进行了讨论，对张新之的“教化”说做出了新的评价，分析了其“教化”说的哲理内涵。本文着重讨论了“谈情”说的主题，对“情”的内涵进行了深入的剖析。探讨了评点家对“未发之情”的论述，主要观点即“未发之情”是真情的重要内涵，是《红楼梦》的主旨。在人物品评方面，着重以贾宝玉、林黛玉和薛宝钗三个主要人物为代表进行评述。对贾宝玉着重分析了这一人物形象中所包含的“情”的意象与“新人”的内涵。对林黛玉与薛宝钗这两个人物形象，主要探讨人物性格的复杂性以及这两个人物所代表的真与假、情与无情意象的意义。“谈情”说的主旨反映在人物身上即是宝、黛这两个人物以情感、心灵为主体的诗意的存在以及宝黛之间的心灵之恋。在艺术技巧论中，从结构、叙事、人物语言三个方面进行了评述。结构中主要说明评点家对神话意象的关注以及对《红楼梦》主线对立双举、副线多线交织的网状结构的探讨。叙事方面讨论的是评点家们谈得比较多的曲笔达意的笔法在《红楼梦》中精湛的运用。人物语言着重从《红楼梦》人物语言比较独特的个性化、多义性以及传神性方面进行了评述。更多还原

【Abstract】 Mainly appeared in the late Ming and Qing Dynasty ,annotation and punctuation had been a very important form of Chinese classic literature criticism. The annotation and punctuation of Hongloumeng had developed its own novel theory of special characteristic inherited from Lizhi、Jinshengtan、Maozonggang and Zhangzhupo in late Ming and the beginning of Qing Dynasty . This paper try to do some research on the criticism of novel theory on the annotation and punctuation of Hongloumeng from the aspects of theme、character and art technique.This paper is divided into four parts. the first part is about the developing, flourishing of annotation and punctuation in Ming and Qing dynasty, and also introducing the works and forms of annotation and punctuation of Honglouming.The second part discuss the theme of Hongloumeng from four aspects which is enlightenment、awake to emptiness、releasing anger and emotion. In the theme of enlightenment , this paper has analyzed the philosophy contents of enlightenment by Zhangxinzhi and has given a emphasis on the theme of emotion which is most interested by most of the authors of annotation and punctuation on Hongloumeng. They argued that the emotion which is unexposed to desire is the true emotion and the emotion that flow to desire has become empty and false.The third part is commenting on character , focusing mainly on Jiabaoyu、Lindaiyu and Xuebaochai, giving a focus on the new character elements of Jiabaoyu and the complexity of the character of Lindaiyu and Xuebaochai .The fourth part discussing about art technique including structure、narrating and character language.更多还原