【作者】 李宇；

【导师】 兰香梅；

【作者基本信息】 重庆师范大学 ， 中国古代文学， 2012， 硕士

【摘要】 吴梅村创作的戏曲共三种：传奇《秣陵春》，杂剧《临春阁》和《通天台》。从历来的研究论著来看，三种戏曲的思想内涵、历史情境以及艺术特色是专家学者们所研究的重点领域。纵观三种戏曲，我们发现吴梅村在剧中设置了大量具有神话色彩的描写，他巧妙地借助了神话色彩来表达自己的思想意蕴，而这些神话色彩和仙幻思想在无形之中又成为其创作思想中的一个重要组成部分。本文主要的关注点就在吴梅村三种戏曲里具有神话色彩的描写手法上，从人物、情节到物品逐一进行分析，引用东西方神话理论进行详尽的文本研究。第一章绪论部分总结了国内外对于吴梅村戏曲的研究成果并进行分类，详细阐述本论文选题的原因和意义，力求完成一篇具有新意的论文，是研究吴梅村戏曲的一个大胆创新和设想。第二章主要是对吴梅村本人生平进行简单的介绍，并对其三种戏曲的主要内容和思想意蕴做简单的介绍。对戏曲文本内容的概述和思想分析虽然不是论文的重点内容，但也是不可缺少的环节之一。读者可以通过对戏曲文本进行理解来体会文本中具有神话色彩的描写主要体现在哪些方面，并结合吴梅村所处的复杂的时代背景，对理解其戏曲作品所要表达的创作思想有一定的帮助。第三章是本论文的主体部分，开始对戏曲里的神话色彩进行详尽的分析与研究。首先先总的分析神话色彩在三种戏曲里的具体表现，然后分节从戏曲人物、情节和物品三个方面分别进行研究，并结合历来的神话原型研究理论和成果，引用典籍文本，提出自己的观点和思路，构建了本论文的主体框架。第四章结语把吴梅村的创作思想、情感和戏曲的神话色彩进行结合，点明其在创作中添加神话色彩的目的和意义，并从艺术和神话之间的联系作为切入点，总结了本文的主要研究过程和研究成果。吴梅村创作三种戏曲并不是为了把它们搬上舞台，纯粹是为了抒发自己的心中情感和矛盾心境，因此便借助神话色彩的描写手法，把自己的思想倾注在戏曲文本之中，使他们成为表白自己心迹的隐喻文字。更多还原

【Abstract】 There are three dramas which are written by WuMeicun,the legendMoLingchun,the drama Pro Spring House and Through the Roof. From the historicaland traditional works,ideological content,historical background and artistic features ofthe three dramas are the important areas of research by experts and scholars.Making ageneral survey of three dramas,we have found that WuMeicun setted a large number ofdescriptions which were full of mythological colour in dramas,he expressed his thoughtskillfully,with the help of mythological colour,these mythological colours and illusorythoughts became one of the important parts of his compositional thinking naturally.Mythesis focused on mythological description of WuMeicun’s three dramas,analyzing thecharacters,circumstances and goods one by one,and recommending the mythologicaltheories in the eastern and western world,in order to research dramas detailedly.Introduction section which is the first part summarizes the research achievementsof WuMeicun’s dramas at home and abroad,and it describes the reasons and significanceof this thesis’ topic selection,making research of my thesis more innovative,this is adauntless innovation of research of WuMeicun’s dramas.The second part introduces the simple introduction of WuMeicun’s whole life,andthe following section is the simple introduction of main content and thought implicationof WuMeicun’s three dramas.They are not the focus of thesis that summarization ofcontent and analysis of thought,but they are also the important parts which arenecessary.Readers can realize the aspects of performance which description ofmythological colour incarnates by means of understanding,and analyze the complicatedhistorical background of WuMeicun,it helps readers realize the compositional thoughtsof Wu’s dramas.The third part is the principal section of my thesis,it begins to analyze themythological colour of dramas detailedly. It summarizes the contents which havemythological colour of three dramas firstly,and researches the characters,circumstancesand goods one by one,combining with the theories and achievements of mythologicalprototype’s research,quoting ancient books and records,then I give my views andthinking,in order to build main framework of this thesis. The peroration which is the fourth part is combination of Wu’s compositionalemotional thought and dramas’ mythological colour,it illuminates purpose andsignificance of mythological colour’s addition in his creation.And it summarizes themain research process and achievement of this thesis,treating the relationship of art andmyth as a entry point. The reason why WuMeicun created three dramas is to express hisown emotions and contradictory feeling purely,not to make dramas perform in the stage.So he poured his thoughts into three dramas by using mythological colour in his dramas,making them become metaphor text of his feeling’s confession.更多还原