【作者】 杨智慧；

【导师】 薛海燕；

【作者基本信息】 中国海洋大学 ， 中国古代文学， 2010， 硕士

【摘要】 明代以来,以“三言”为代表的拟话本小说掀起了拟话本小说的创作高峰,且形成了自己所特有的思想内容、结构形式和叙事规范,比如每篇小说都有固定的篇首诗词、入话、正话、篇尾诗词；特有的“说书人”叙事口吻；说教色彩浓重等等。此后的拟话本小说作者一直将其奉为圭臬,以此为标准来进行创作。而明末清初艾纳居士的拟话本小说《豆棚闲话》在内容、形式等很多方面都突破了传统拟话本小说的叙事套路,形成了自己所特有的叙事手法：《豆棚闲话》运用叙事框架,构建了多层叙述层次；作者构建了一个在豆棚下聚众闲话的“豆棚世界”,在这里,乡老们畅所欲言,互讲故事,形成了特有的小众话语空间等等。这些都体现出了拟话本小说的近代特点,因此石昌渝称之为是话本小说演变史上“里程碑式的”作品。在清初问世之后,《豆棚闲话》也被屡次刊印,但随着拟话本小说的衰落却淡出人们的视野。前人对《豆棚闲话》的研究多集中于对《豆棚闲话》内容、叙事、思想等领域的单一研究。鉴于此,本文在前人研究的基础上,拟通过《豆棚闲话》与传统拟话本小说的代表“三言”的叙事艺术的比较研究,清晰直观的发掘出《豆棚闲话》在叙事方面较之传统拟话本小说的改革和新变。从而帮助我们重新诠释《豆棚闲话》,并系统研究和把握《豆棚闲话》在叙事学方面所体现出的拟话本小说的进步性和近代转型趋势。本文主体共分五个部分,第一部分综述《豆棚闲话》的研究现状。包括近年来学术界对《豆棚闲话》的版本和作者的研究,以及对《豆棚闲话》思想内容等方面的研究现状。第二部分比较《豆棚闲话》与“三言”的创作动机之异同；第三部分比较《豆棚闲话》与“三言”话本形式之异伺；第四部分又分为三个小部分,分别通过叙述者与叙述分层、叙事视角和叙事意象几个方面的内容来重点比较《豆棚闲话》与“三言”的叙事手法之异同；而这一部分也会得出和探讨《豆棚闲话》对于整体性话语空间的营造和“豆棚”这一意象对于“小众”话语消解宏大历史叙事这两个创新式命题。第五部分主要是在以上几部分内容的研究基础之上,进一步探讨《豆棚闲话》的近代性与拟话本小说的近代转型。《豆棚闲话》几乎完全脱离了传统话本小说形式的藩篱与桎梏,从形式上完成了白话短篇小说近代转型的初步探索。但由于时代的局限和文学本身的缺陷,使得这种探索没能抛砖引玉,发扬光大。而《豆棚闲话》的改革对于文学的发展起到了不容置疑的推动作用,它的新变也需要我们再作进一步的探讨与研究。更多还原

【Abstract】 Since the Ming dynasty, the "Sanyan" is the short fiction raised short novel creation peak, and formed its own peculiar to the ideological content, structure and narrative specifications, such as novels have fixed each word, the poetrys of the first and the end parts, the short story at the beginning of the fiction; the unique "storytellers" narrative visual angle, the dense sermon, etc.From then on, the writer has its bibles as standard for creation.<Chatting in the bean canopy> in late Ming and early Qing dynasty break through the traditional pattern in many aspects, for example, in content and form, and has its own unique narrative:The text uses narrative framework, constructs the multilayer narrative levels, Author constructs "the chatting world in the bean canopy ". People could tell stories freely here, and form a special minority discourse space, etc. All those reflect the characteristics of the modern short fiction, so Shi ChangYu called it is "landmark" works. In the Qing dynasty, the text is printed frequently, but it breaks up soon.The research of <Chatting in the bean canopy> of predecessors concentrates much to the content, narrative, domain and so on thought sole research. In view of this, this article will find the innovation of <Chatting in the bean canopy> in the narrative aspect through comparing <Chatting in the bean canopy> with "Sanyan",which is the representative of traditional short fictions in the foundation of the predecessor studies. It helps us annotate and research on the narrative, progressive aspects and reforming tendency of <Chatting in the bean canopy>.This subject is divided into five parts, the first part summarizes the current research of the text. In recent years, including the version, the author and the content of the text. The second part compares "Sanyan" with <Chatting in the bean canopy> through the creative motivation.The third part compares "Sanyan" with <Chatting in the bean canopy> through the narrative form. The fourth part is divided into four pieces, compares "Sanyan" with <Chatting in the bean canopy> through the narrator and narrative stratification,. narrative visual angle, narrative time and narrative image This part will discuss two innovative proposition:the text "to build the integrity discourse space" and the image of "bean canopy" for all minority discourse digestion grand historical narration. The fifth part further discusses "modern characteristics of and modern transition of short fiction. The text is almost divorced from the traditional narrative form, and completes popular fictions modern transformation of the preliminary exploration in the form. But due to the limitation of time and defect of literature itself, the author doesn’t explore it. The reform of<Chatting in the bean canopy> promote the development of the literature, and it also needs to discuss and research.更多还原