【作者】 樊庆彦；

【导师】 王平；

【作者基本信息】 山东大学 ， 中国古代文学， 2008， 博士

【摘要】 娱乐是古人生活中不可或缺的一项内容,人们在休闲消遣的过程中获得了生理和精神需求的满足。娱乐起源于社会实践,在与其他社会因素的交互作用中不断发展完善,形成一种文化现象,即娱乐文化。而娱乐文化在历史的积淀之下,经过不同时代社会的传承与发展,形成了自身固有的特点及价值取向。中国传统娱乐文化丰富多彩,在古代不同时期的历史文献与笔记资料中均有反映,但多是简单抽象地记录描述,无法让人真正全面地领略其中的乐趣。如何形象生动具体可感地反映古人的娱乐生活,则是古代小说所承担的任务。小说本是为人们消遣而创作的,在社会公用上有其娱乐功能,而小说中反映的古代娱乐生活,在某种程度上影响着作品的价值取向与艺术表现。因此,小说与娱乐之间有着密不可分的关系。但鉴于古代对于娱乐及表现这种娱乐的小说存在一定的偏见,小说的娱乐功能难以得到人们的重视,而小说中所涉及到的娱乐文化也很少有人专门加以研究。因此,在传统文化价值重新受到关注的今天,本文对于古代小说与娱乐文化的关系进行整体的统一观照,从一定程度上来说也就具有了必要性和可行性。本文共分上下两编,上编是古代小说娱乐功能研究,下编是古代小说中的娱乐文化考论。上编共分五章,立足于具体作品的个案分析,对先秦两汉时期的所谓早期小说的娱乐功能进行辨析,根据古代小说发展的特点及规律,以文言小说与白话小说两种文体类型,分别论述古代小说娱乐功能的演变特征,探讨小说娱乐功能的表现方式,研究小说娱乐功能所产生的接受效应。下编共分四章,依据传统娱乐文化自身功能和性质,将其分为百戏杂艺、益智赛巧、休闲雅静、民俗游艺四大类,分别选取其中有代表性的、与小说结合紧密的百戏艺术、文字游戏、棋类文化、岁时节令娱乐等传统娱乐活动,通过梳理娱乐文化在古代小说中的具体表现,考察传统娱乐文化的发展演变,解析娱乐文化在古代小说中的功能与作用,探讨古代小说对于娱乐文化的影响,由此概括出研究对象的内在规律特征。小说同其他文学样式一样存有从初级发展到高级的演进过程。先秦两汉时期是古代小说的萌芽期,属于小说发展的初级阶段,产生了一些初具小说素质的作品,主要包括先秦时期的《汲冢琐语》、《山海经》、《穆天子传》及两汉时期的《淮南子》、《越绝书》、《吴越春秋》、《西京杂记》等,通常称之为早期小说。这一时期的小说尚未获得文体独立,仍然师从史传,作者往往按照“实录”的原则进行创作,并未着意制造小说的娱乐功能。但事实上小说也受诸子寓言及民间流传的俳优故事影响,对于奇闻轶事的记载却是合乎人们的好奇心理,在奇伟瑰丽的想象和幻想中获得精神上的愉悦和满足,使得小说在客观上具有了娱乐民众的效果。魏晋南北朝时期则是“文学的自觉时代”,也是古代小说的形成期,此时小说已经取得了文体上的独立,出现了以《搜神记》等为代表的志怪小说和以《世说新语》为代表的志人小说,还出现了《笑林》等专供娱乐的笑话类小说,小说作者虽然是为“明神道之不诬”或品评人物言行,这些小说客观上均表现出各具特色的娱乐功能。唐代“有意为小说”,作者多为文人,他们为求上层赏识以中科举,展现自己的才华文笔,自觉、有意识地进行小说创作,突破了史传的影响和束缚,强化小说的虚构特征,丰富小说的内容,像琐屑的日常生活小事,流传朝野的笑话和嘉话,民间流传的精怪传说,有悖礼教、动人肺腑的爱情故事等,都成为了小说的题材,小说的娱乐功能也表现出内容“奇幻”、情趣“高雅”却又语言“谐谑”等相互融合的特征。宋代以后,文占小说在说话艺术的横向影响下,能够及时与白话小说加强融合,使文言小说的娱乐性更广泛地适应大众,至明末清初,随着《聊斋志异》的诞生,文言小说又体现出雅俗共赏的娱乐特点。大约自唐代开始,小说创作领域又出现了一种新的形式,即在“说话”、“俗讲”、“转变”的基础上产生的白话小说。这时期的白话小说由文人化向世俗化转型,在一开始就显现出与文言小说大异其趣的娱乐功能。宋元时期,说话和说唱艺术日益繁盛,话本小说也日见其多,它们偏离了以“雅正”为旨归的诗文创作传统,演述古今故事、市井生活。内容的世俗化,语言的口语化,也促成了白话小说娱乐功能的进一步大众化。明清是小说史上的繁盛期。小说打破了正统诗文的垄断,成为“一代之文学”。不仅表现为“四大名著”等章回体小说的风行,“三言”、“二拍”等短篇小说的繁荣,而在各种表现形式的综合运用,或者几种社会功能的有机融合等方面,也都呈现出高超的造诣,从而标志着白话小说娱乐功能进入到了发达阶段。小说是一种侧重刻画人物形象、叙述故事情节的文学样式,小说的娱乐功能也会从作品所刻画的人物形象及叙述的故事情节中显现出来,而文学语言则是展现这种功能的直接载体。在小说中,作者运用诙谐幽默的语言艺术,通过新奇有趣的故事情节,塑造出开心解颐的人物形象,来营造出古代小说的娱乐功能。而小说具有娱乐功能,成为人们消遣的对象,读者在阅读小说时必然会产生一定的心理感受,从而促进了人们的身心愉悦,并在客观上引起一系列的接受效应。较为明显的影响是促发了小说评点的风行,加快了小说的传播,增强了小说与其他娱乐形式的交流互动。娱乐足一种与人类关系非常密切的文化现象,虽是供人们休闲消遣,但人在从事娱乐活动的时候,往往把自己的主观精神和价值取向融入到了活动之中,因而具有着重要的文化底蕴。古代史籍中保存着较多有关娱乐活动的记载,从中反映出不同时期的文化特征。小说家同样乐于将其作为描绘对象,在作品中赋予其独到的表现功能。中国古代丰富多彩的小说作品,以其形象化的特征,向我们展示出古代纷繁热烈的娱乐生活情景,集中地反映出各个时期的风土人情及人们的生活和娱乐情趣,也渲染了时代气氛,为小说人物活动创造出富有时代特色和民族情趣的典型环境,造成一种具有立体感和真实感、与人物性格相契合的人文环境。娱乐活动还寄托了审美的理想。一切事物皆有其价值功能,娱乐活动价值的大小主要在于它是否具备娱乐的本质特征,是否有利于人们的身心健康和培养高尚的情趣。古代小说中的娱乐活动,给读者带来了强烈的审美感受。娱乐对于古代社会中各色人等都具有强大的吸引力,但由于人们的地位、职务、年龄、性别、经济条件、兴趣爱好等方面不同,其娱乐的风格和特点也会有很大的差异。因而,娱乐文化成为小说刻画人物形象的一种工具。娱乐又是一种诉诸情感的活动,它往往又是非功利和超现实的。这一点恰恰与中国人的民族心理合拍。中华民族是一个富有社会责任感和正义感的民族,在娱乐活动中体现出一种社会的意识。因而在古代小说中,作者常常借用娱乐活动来刻画人物性格和命运,表现人物的情感或心理活动。我国文化中的理想人物,明慧悟性,达观宽宏,与世无争,乐天知命。人们追求的是心灵的自由。这也决定了人们对于娱乐的态度,即将其视为一种理想化的东西,从中去编织梦想,寄托理想,最终获得心灵上的慰藉。作者借用娱乐活动展示独特的民族心态和特定的社会心理。娱乐活动中还大量渗入礼仪的因素。在中国封建社会里,统治阶级偏重于娱乐活动的政治价值,以礼仪原则作为判断娱乐活动的价值尺度。所以,反映在小说作品中,作者往往将娱乐活动作为反思和审视的对象,借以讽喻国家政事、社会风气,抒发个人情感、心志,于描绘之中蕴涵着作家强烈的道德评判和文化批判意识,寄托着作者的理想和价值观。传统娱乐文化对于当代小说创作也产生了重要影响,在市场经济体制下,文学作品进入市场,受到市场经济的转换而被商品化。在市场经济竞争机制下,人们在繁忙紧张的工作之余,要求休息,要求更多的提供休闲、娱乐的文艺作品。这也使得作家在创作中着力增强小说的娱乐功能。由此促发了港台武侠小说的风起云涌,并迅速占领内地。当代小说中也积极吸收娱乐因素,娱乐的功能和作用日益显著。但过度强调小说的娱乐功能也因媚俗而消减了小说的审美性。随着文化产业热的兴起及世界非物质文化遗产评选工作的促动,传统文化的价值重新受到人们的关注。尤其是娱乐文化恰好迎合了大众消费群体追求娱乐、消遣和休闲的需求,形成一股新的传统娱乐文化回归热潮。然而,在现代社会生活中,传统娱乐方式必然要面临新兴娱乐文化的种种挑战。我们应该认真反思传统娱乐文化的回归,加强保护与开发利用有效地结合,使我国的传统娱乐文化永远保留在人们的生活之中。更多还原

【Abstract】 Entertainment was indispensable to the life of ancient people, through leisure share they got contented in psychological and mental needs. Entertainment was originated from social practice, and constantly improved in the interaction with other social factors to form a cultural phenomenon, i.e., entertainment culture. With historical accumulation and going through different times and societies’ evolution, entertainment culture formed its own and coherent character and value orientation. The traditional entertainment culture of China is rich and colorful, as recorded in historical documents and notes at different times. However, those records are of simple and abstract description, from which we cannot really and overall experience its pleasure. How to vividly and concretely reflect the ancient people’s entertainment life is the task borne by ancient fiction. Fiction was wrote originally for recreation and had entertainment function in respect to public usage, and the ancient entertainment life reflected in fiction, in a sense, influenced the fiction’s value orientation and artistic representation. Therefore, fiction and entertainment were closely related to each other. In ancient times, a certain prejudice was attached to entertainment and fiction which represents such entertainment, it is hard for people to attach importance to fiction’s entertainment function, and less people studied specially the entertainment function involved in fiction, therefore, this Dissertation’s study on ancient fiction and entertainment culture, to a extend, is necessary and feasible.This Dissertation is divided into two parts. The first part is to depict ancient fiction’s entertainment function, the second is a research and demonstration of entertainment culture in ancient fiction. The first part consists of five chapters, which analyzes the entertainment function of so-called early fiction in the pre-Qin and Han period. According to the characters and consecutions of ancient fiction’s evolution and based on the division of literary forms of fiction into classical Chinese in colloquial Chinese, this Part respectively dissertates the evolution of ancient fiction’s entertainment function, discusses the representing ways of fiction’s entertainment function, and studies the acceptance effect from fiction’s entertainment function. The second part consists of four chapters. The traditional culture, according to its function and nature, is divided into four types including vaudevilles, games for developing intelligence, leisure activities without strong body movements like fishing, flower appreciating, folk-custom recreation etc., and those representative traditional entertainment activities such as vaudevilles, wording games, chess culture, festival entertainment etc. which are closely related to fiction, are respectively chosen, to research the evolution of traditional entertainment culture through fiction, clarify the concrete representation of entertainment in ancient fiction, analyze the function and role of entertainment culture in ancient fiction, and probe into the influence of ancient fiction on entertainment culture.Fiction, similar to other literary patterns, evolved from primary to senior. The pre-Qin and Han period saw the germination and primary development of ancient fiction, some works with primary fiction quality occurred, which are generally called early fictions. At this period, fiction had not been independent in literary form yet, and was subject to historical biography, that’s to say, writers wrote fictions always according to the principle of "real record", which means no entertainment function was consciously attached to fiction. However, fiction at that time was also influenced by allegories carried in classical works and stories popular in the folk, their records of anecdotes seemed to cater to the people’s curiosity, so they objectively had the effects of entertaining the people.The Period of the Wei-Jin and Southern-Northern Dynasties was a "conscious times of culture" and was also the period of ancient fiction’s forming. At this period, the entertainment functions in fiction presented in different characteristics. In the Tang Dynasty, writers consciously wrote fictions, broke through the impact and restriction of historical biography, enforced fiction’s fictiveness and enriched its contents, and the entertainment functions in fiction presented in new characteristic. After the Song Dynasty, fiction in classical Chinese, with the transverse influence of talking art, could combine with the one in colloquial Chinese, so its entertainment function might satisfy the people widely. To the end of the Ming Dynasty and beginning of the Qing Dynasty, with the birth of Strange Stories from a Chinese Studio, fiction in classical Chinese presented a characteristic to suit both refined and popular tastes.From the Tang Dynasty or so, a new form occurred in the creation field of fiction, i.e., fiction in colloquial Chinese. The fiction in colloquial Chinese at this period transferred from the circle of literati to common people, and showed, in respect of its taste, in difference with fiction in classical Chinese at its beginning. In the Song and Yuan Dynasties, talking arts and talking-singing arts became prosperous increasingly and scripts for story-telling also became more and more, they got away from the literary creating tradition in "righteous" principle and told ancient and modern stories and common people’s life. Their contents’ becoming common and language’s becoming oral, also facilitated the entertainment function of fictions in colloquial Chinese becoming popular. The Ming and Qing Dynasties saw the prosperity in fiction history. Fiction broke formally the monopolization of classical poetries and essays, and became the "culture of a generation", the entertainment function of fiction in colloquial Chinese drove to an advanced phase.Fiction is a literary pattern emphasizing on portraying figure images and telling story plots, its entertainment function is embodied from the figure images portrayed and story plots told in works, and literary language is the direct carrier for showing this function. In a fiction, with humorous language art and in unique and interesting story plot, the writer created amused figure images to show ancient fiction’s entertainment function. Since fiction has entertainment function and becomes the people’s choice for leisure, it’s sure for readers to get some psychological feelings in reading, which makes people pleasured, and objectively leads to a series of acceptance effects. The relatively obvious effects are to facilitate the punctuation and annotation on fiction becoming popularized, accelerate fiction’s spread and enhance the communication and mutual improving between fiction and other entertainment forms.Entertainment is a cultural phenomenon closely related to human beings. Though it is for leisure, the people who are engaged in entertainment activities always throw in their subjective spirit and value orientation, therefore it has an important cultural accumulation. Ancient documents keep much more records of entertainment activities, which reflect the cultural features at different periods. Fictionists are also interested in taking them as describing objects, and endowed them unique representing function in their works.The visualizing in rich and colorful fictions in ancient China shows us a flourishing scene of ancient entertainment life, focally reflects the local conditions and customs as well as the people life and entertainment interests at different periods, also well shows the times’ atmosphere, which makes a typical environment with unique features and national interests for the activities in fiction, thereby makes a cubic and real humane surroundings in compliance with figure characters. Entertainment activity is also endowed with aesthetic ideal. Each matter has its value function, the value of entertainment activity depends on that if it has essential features of entertainment, if it’s in favor of people’s health and noble interests. The entertainment activity in ancient fiction brings strong aesthetic feelings to readers.Entertainment is powerfully attractive to all kinds of people in ancient society, however, since the people’s status, position, age, sex, economic condition, interest etc. are different, styles and features of their entertainment would be greatly different. Entertainment is also an activity appealing to feelings, it is sometimes non-utilitarian and super-realistic, which is in compliance with the national mentality of Chinese. Chinese is rich of the sense of social responsibility and justice, and embodies a social awareness in entertainment activity. Therefore, in ancient fictions, writers always made use of entertainment activity to portray figure character and fortune and showed figure’s feeling or mentality. The ideal figures in Chinese culture are tolerant and pursue for soul freedom, that decides the people’s attitude towards entertainment, i.e., idealized. Writers made use of entertainment activity to show unique national psychology and specific social mentality.Entertainment activity is also penetrated with propriety factors. In the feudal society of China, the ruling class laid particular stress on the political value of entertainment activity, and judged the value of entertainment activity with propriety principle. As reflected in fiction, writer always took entertainment activity as an object of reflection and study, for discussing political affairs and social ethos in an allegorical way, expressing their individual feelings and willing, the description implies their strong awareness of moral judgment and cultural criticism, ideal and value view.Traditional entertainment culture also impacts greatly the present fiction creation. In the mechanism of market-oriented economy, literary works are commercialized after entering the market. Under the competition mechanism of market-oriented economy, the busy people need rest and much more leisure and amusing literary works in leisure time, so writers cudgel their brains for enhancing fiction’s entertainment function, that promotes swordsmen fictions of Hong Kong and Taiwan very popular and occupying rapidly the mainland of China. The present fiction also absorbs the factors of entertainment, in which the function and rule of entertainment become remarkable increasingly.With the rising of cultural industry and the promoting of appraisal on intangible cultural heritage of the world, the value of traditional culture re-arouses the people’s concern. Especially, entertainment culture just caters for the consuming mass’ demands for amusing and leisure, and forms a new tide of pursuing traditional entertainment. However, in modern social life, the traditional entertainment will be faced to all challenges of new-rising entertainment cultures. We shall carefully reflect the renaissance of traditional entertainment culture and enhance the efficient combination between protection and usage to keep the traditional entertainment culture of our nation left in the people’s heart.更多还原