本文選題：明代 + 長篇小說��； 參考：《長春師范大學(xué)》2017年碩士論文

【摘要】：自宋代以來中國古典長篇小說卷帙浩繁,發(fā)展到明清時(shí)期,隨著歷史演義、英雄傳奇、神魔小說、世情小說等題材的不斷豐富,作家創(chuàng)作技巧日臻成熟,長篇小說的結(jié)構(gòu)布局呈現(xiàn)出多樣性,開篇作為其中的一部分,也形成了獨(dú)特的藝術(shù)魅力和敘事模式。在封閉文本意義的基礎(chǔ)上,明清長篇小說開篇突破了以往簡單的交待模式,無論在情節(jié)的展開還是敘事的手法上都做了縱深探索,以創(chuàng)作情感的矛盾來展現(xiàn)作品生態(tài)的真實(shí),以美學(xué)風(fēng)格的悖反來加強(qiáng)閱讀效果,以敘事節(jié)奏的緩急來烘托情節(jié)輕重,以有血有肉的開篇人物來帶動(dòng)情節(jié)的開展,在作家的不斷創(chuàng)作和發(fā)掘中達(dá)到了前所未有的藝術(shù)高度。本文對(duì)明代主要長篇小說的開篇進(jìn)行了系統(tǒng)梳理,結(jié)合小說開篇在整體結(jié)構(gòu)中的功能和作用,對(duì)明代長篇小說開篇的藝術(shù)性做了探究和闡釋,以期對(duì)明代長篇小說獨(dú)特的開篇藝術(shù)加以歸納和總結(jié)。全文共分為四個(gè)部分:引言部分大致梳理了明代長篇小說的研究現(xiàn)狀,介紹了國內(nèi)學(xué)者的研究成果;同時(shí)框定了明代長篇小說的研究范圍,在開篇一詞的界定中,進(jìn)一步明確了小說開篇是一個(gè)“段”而非一個(gè)“點(diǎn)”的概念,明確了研究對(duì)象。正文的第一部分探討的是明代長篇小說開篇的模式。長篇小說以描寫人物眾多為主要特點(diǎn)之一,包括中心人物、次要人物、正面人物與反面人物,所以首先介紹人物開篇,第二介紹情節(jié)類型的開篇模式,第三介紹“楔子開篇。第二部分探討的是明代長篇小說開篇中的敘事藝術(shù)。主要探討了“首”與“尾”的預(yù)敘功能,同時(shí)明代長篇小說的開篇藝術(shù)也體現(xiàn)在作者的不同敘事視角上,既有對(duì)歷史、演義的“公正”視角,也有對(duì)世情諷刺抨擊的“俯瞰”視角。第三部分探討的是明代長篇小說開篇中體現(xiàn)的思想。聯(lián)系時(shí)代背景和民族審美心理,從儒家思想、哲學(xué)思想、宗教思想三個(gè)方面對(duì)明代長篇小說開篇的文化導(dǎo)向和意涵做了闡釋。第四部分探討的是明代長篇小說開篇的功能。通過分析世情小說、歷史演義小說、英雄傳奇小說和公案小說不同的開篇,在出場人物、事件中的不同布局方式和寫作手法,研究其體現(xiàn)出來的兩種主要功能,一是統(tǒng)領(lǐng)全篇的結(jié)構(gòu)功能,二是凸顯主題的寓意功能。
[Abstract]:Since the Song Dynasty, the Chinese classical novels have been voluminous, and developed to the Ming and Qing dynasties. With the continuous enrichment of historical Romance, Heroes and Legends, the novels of gods and demons, and the novels of worldly feelings, the writers' creative skills have matured day by day. The structure of the novel presents diversity, the opening as a part of it, but also formed a unique artistic charm and narrative mode. On the basis of closing the meaning of the text, the opening of the novels in Ming and Qing dynasties broke through the previous simple mode of account, both in the plot of the development or narrative techniques have done in-depth exploration, to create emotional contradictions to show the ecological truth of the work. To strengthen the reading effect with the contrary of aesthetic style, to contrast the plot with the order of narrative rhythm, and to promote the development of the plot by the flesh and blood opening characters, which has reached an unprecedented artistic height in the continuous creation and excavation of the writer. This paper systematically combs the opening of the main novels of Ming Dynasty, and explores and explains the artistry of the opening of the novels of the Ming Dynasty, combining the functions and functions of the opening of the novels in the whole structure. In order to sum up and summarize the unique opening art of Ming Dynasty novels. The full text is divided into four parts: the introduction part roughly combs the present situation of the Ming Dynasty novel research, introduces the domestic scholar's research achievement, at the same time has defined the research scope of the Ming Dynasty novel, in the beginning one word definition, It further clarifies the concept that the beginning of the novel is a "paragraph" rather than a "point", and clarifies the object of study. The first part of the text discusses the opening mode of the Ming Dynasty novel. One of the main features of the novel is the description of many characters, including the central character, the minor character, the right character and the negative character, so the first part introduces the characters, the second introduces the opening mode of the plot type, and the third introduces the wedge. The second part discusses the narrative art in the beginning of Ming Dynasty novels. This paper mainly discusses the prenarration function of "the first" and "the end", and at the same time, the opening art of the novels of the Ming Dynasty is also reflected in the author's different narrative perspectives, including the perspective of "justice" to the history and the romance. There is also a "overlooking" view of the sarcasm of the world. The third part discusses the thoughts embodied in the opening of Ming Dynasty novels. In connection with the background of the times and the national aesthetic psychology, this paper explains the cultural orientation and implication of the opening novel of Ming Dynasty from three aspects: Confucian thought, philosophical thought and religious thought. The fourth part discusses the function of opening novel in Ming Dynasty. Through the analysis of the different opening of the world romance novel, the historical romance novel, the hero legend novel and the public case novel, the different layout methods and writing techniques in the appearance of the characters, the events, the two main functions embodied in the novel are studied. One is to dominate the structure of the whole function, the other is to highlight the theme of the moral function.
【學(xué)位授予單位】：長春師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.41

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本文編號(hào)：1966330