本文選題：韓愈 + 《毛穎傳》��； 參考：《安徽師范大學(xué)》2017年碩士論文

【摘要】：韓愈的《毛穎傳》是一篇“游戲之文”,也是一篇“千古奇文”。作者兼綜史傳、寓言、小說等體式,用“以文為戲”的方式,將內(nèi)心的“不平”鳴之于文�！睹f傳》一問世,后世仿者甚眾,在宋代興起了兩次仿作風(fēng)潮。本文以宋代《毛穎傳》仿作為研究對象,力圖尋繹《毛穎傳》仿作的發(fā)展規(guī)律,包括仿作的發(fā)展歷程、所作出的突破、仿作體現(xiàn)的重要意義和藝術(shù)缺陷等。正文共有四部分。第一部分論述宋代《毛穎傳》仿作的發(fā)展歷程。從歷時(shí)性層面對仿作在北宋、南宋兩個(gè)不同時(shí)期發(fā)展?fàn)顩r進(jìn)行探索,從共時(shí)性層面對兩個(gè)時(shí)期的仿作特點(diǎn)進(jìn)行重點(diǎn)論述。北宋是仿作的方興期,此時(shí)期仿作主要有同旨仿作和創(chuàng)意仿作兩種類型,以仿作群的形式存在。南宋是仿作的繼進(jìn)期,此時(shí)期仿作在藝術(shù)上的創(chuàng)造性遜色于北宋,但在反映生活的廣度和深度上勝于前代,蘊(yùn)含時(shí)代所特有的“精神氣候”。第二部分探討宋代《毛穎傳》仿作的新變。宋代仿作在繼承前代傳統(tǒng)的同時(shí),也有所創(chuàng)新。具體表現(xiàn)有三點(diǎn):從外在形式和敘事模式來看,突破了宋前單一化模式,由“一元化”趨向于“多元化”;從抒情方式和創(chuàng)作態(tài)度來看,從“發(fā)其郁積”轉(zhuǎn)為“怨而不怒”;從仿作中的主客體關(guān)系來看,經(jīng)歷了由“物我對應(yīng)”到“物我分離”的過程。第三部分將宋代《毛穎傳》仿作放在宋代文學(xué)發(fā)展的大背景中進(jìn)行考察,主要從文學(xué)觀念和文體觀念的角度切入。從文學(xué)觀念方面來看,宋代仿作實(shí)踐和繼承了“以文為戲”、“以故為新,以俗為雅”、“以議論為文,以才學(xué)為文”的文學(xué)觀念。從文體觀念方面來看,實(shí)現(xiàn)了對“史傳”之體的突破和“文傳”之體的深化。第四部分研究宋代《毛穎傳》仿作的缺陷和成因。宋代《毛穎傳》仿作的缺陷有:一是題材內(nèi)容的趨同,易致人物家世雷同、人物形象雷同、典故雷同之弊;二是主題意蘊(yùn)的相似,表現(xiàn)為“不平之鳴”、君子之道等主題的相因;三是敘事結(jié)構(gòu)的規(guī)摹,主要是對原作謀篇布局、敘事技巧的因襲。其原因主要與仿作者的客觀環(huán)境、文學(xué)素養(yǎng)、創(chuàng)作態(tài)度、模仿的局限等方面有關(guān)。
[Abstract]:Han Yu's "Biography of Mao Ying" is an article of Game, and also an essay of Eternal Wonders. The author, the author of the historical biography, the fable, the novel, and so on, uses the style of "taking the text as the play" to sing the inner "injustice" into the text. "Mao Ying Zhuan" came out, and there were many imitations in the later generations, and two imitations arose in the Song Dynasty. This paper takes the imitation of Mao Ying in Song Dynasty as the research object, and tries to find out the law of the development of the imitation, including the development course, the breakthrough, the significance and the artistic defect of the imitation. There are four parts in the text. The first part discusses the development of the imitation of Mao Ying in Song Dynasty. From the diachronic level, this paper explores the development of imitation in the Northern Song Dynasty and the Southern Song Dynasty, and discusses the characteristics of the two periods from the synchronic level. The Northern Song Dynasty was the flourishing period of imitating works. In this period, there were two types of imitative works: the same purpose and the creative ones, which existed in the form of imitation groups. The Southern Song Dynasty was the following period of imitating works, which was inferior to the artistic creativity of the Northern Song Dynasty, but better than that of the previous dynasties in reflecting the breadth and depth of life, which contained the special "spiritual climate" of the times. The second part discusses the new changes in the imitation of Mao Ying in Song Dynasty. While inheriting the tradition of the previous generation, the imitation works of the Song Dynasty were also innovated. There are three specific points: from the external form and narrative mode, break through the single mode before the Song Dynasty, from "monism" to "pluralism", from the lyric way and creative attitude, from "its accumulation" to "resentment but not anger"; From the relationship between subject and object in parody, it has experienced the process from "object I correspondence" to "material I separation". The third part investigates the imitation works of Song Dynasty in the context of the development of literature in Song Dynasty, mainly from the perspective of literary concept and stylistic concept. From the point of view of literary concept, the practice of imitation in Song Dynasty inherited the literary concept of "taking literature as drama", "taking reason as new, taking vulgarity as elegance", "taking discussion as literature, and taking talent and learning as literature". From the aspect of stylistic concept, the breakthrough of the body of Historical Biography and the deepening of the body of Literary Biography have been realized. The fourth part studies the defects and causes of the imitation of Mao Ying in Song Dynasty. The defects of the imitation of Mao Ying in Song Dynasty are as follows: first, the convergence of the contents of the subject matter, it is easy to make the same family background of the characters, the same image of the characters, the same allusion, and the other is the similarity of the meaning of the theme, which is manifested as "the sound of unfairness." The third is the pattern of narrative structure, which mainly follows the layout of original works and narrative techniques. The reasons are mainly related to the objective environment, literary literacy, creative attitude and the limitation of imitation.
【學(xué)位授予單位】：安徽師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：I206.2

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