【作者】 刘志宏；

【导师】 周秦；

【作者基本信息】 苏州大学 ， 戏剧影视文学， 2008， 博士

【摘要】 明清传奇既承续了中国诗学言志抒情的传统,又在主题选择、情节结构设计、人物形象塑造、时空处理等文体要素上体现出鲜明的叙事艺术特征。本论文在大量阅读明清传奇原作文本的基础上,充分借鉴前人研究成果,并尝试运用中国古代戏曲理论和现代叙事学理论有机结合的方法对明清传奇的叙事艺术进行梳理、分析与系统解读。研究从如下五个方面展开:一、叙事主题的选择具体探讨明清传奇在教化、情理冲突、历史兴亡与平民关怀等叙事主题选择上的变化轨迹以及主题意识与创作中的叙事结构、人物刻画方式等叙事因素的影响。二、叙事结构的设计传奇在长期的发展中形成了比较典型的叙事结构特征,物理结构方面讲究双线式结构以及双重性结构,规范着结构的外在表现形式;心理结构方面则多追求情节的“奇”、“幻”,体现着作家的审美心理的外化;物理结构与心理结构的相互关系还影响着传奇的风貌。三、叙事时空的处理传奇从故事时间与情节时间的不对等性入手,以戏剧化的手法处理省略、延长等时序要素以及预叙、回叙等时距要素,从而达到时空表达的写意化与虚拟化特征,影响着叙事的进行。四、叙事方法模式化传奇多采用魂梦模式、巧合误会模式、道具模式进行故事叙述,有助于实现情节的丰富性、浪漫性,结构的严谨性、逻辑性以及时空的写意性与虚拟性等审美目标。五、人物形象的塑造传奇的人物形象塑造的类型化倾向,虽利于创作的繁盛、戏曲角色行当的形成以及观众的广泛接受,却极易导致人物脸谱化、公式化、浮泛化。但传奇还是相当注重个性化的人物形象塑造,“传神”与“肖似”的人物塑造方法对类型化的人物形象进行了有效的反拨和补充。参照叙事学理论中的“角色”和“人物”概念进行区分,从更多方面地探讨出传奇着眼于人物的行动实现叙事目标的艺术特征。更多还原

【Abstract】 Chuan-Qi Operas in Ming and Qing Dynasties not only succeed the lyricism and will expression tradition of Chinese poetry, but also embody vivid narrative characteristics in several major style elements, such as theme choosing, plot structure designing, figures making and time-place managing, etc.. Benefiting from both big volume of Chuan-Qi plays reading and the preceding research success, this thesis tries to analyze and unscramble the narrative art of Chuan-Qi Operas systematically, and an organic combination of classic Chinese opera theory and modern narrative theory is also introduced in the process of study. There are five chapters excluded in the thesis:Chapter one will discuss the Narrative theme choosing. We can line up a history of how Chuan-Qi varies in choosing different themes to express the care on civilization, conflict between affection and Confucian reason, thinking on nation’s rise and fall, and writer’s concern on ordinary people. It also discusses the influence the themes exerts on the narrative structure design and figures making and other elements.Chapter Two focuses on the narrative structure designing and divides the structure of Chuan-Qi as two parts. Physical structure majors in discussing main external prototypes appeared from the plays such as two-line structure and dual structure. Psychological structure pursuits odds and fantasy of plots, which indicates the writer’s aesthetic thoughts. What’s more, the relationship between two structures certainly affects the styles and features of each play.In Chapter Three the thesis discusses the organization of temporality and place in the scope of narration. Two kinds of time-shapes in Chuan-Qi, story time and plot time, are actually unequal thus the writers can take its advantage to arrange freely the time omission and extension in Time-order, beforehand and backup narration,so that they can embody the free and imaginary characters .All these basic elements affect the rhythm of narration.In Chapter Four, Chuan-Qi takes advantage of many Narrative patterns such as Ghost-dream pattern, coincidence-misunderstanding pattern, and property pattern to narrate the story and provide great help to the play. So we can see the abundant plots with romance, precise structure with logicality and free and imaginary time and place.In the final chapter Five, the thesis mainly probes into Chuan-Qi’s characterization. Though the tendency of plots categorization can be favorable in play-creation prosperous, the formation of role categories, and widely accepted by the audience, it can also slide into the result of plot-formulation. Fortunately, Chuan-Qi has paid more attention to emphasizing different characters portraying. Especially lifelike and assemble methods have been used in the creation process so it is a sufficient way to make up the characterization. The thesis also work on the part and role project in the field of narrative so that we can understand how Chuan-Qi can realize their the narrative target through actors’action.更多还原