本文關(guān)鍵詞：金圣嘆敘事思想研究　出處：《山西師范大學(xué)》2015年碩士論文　論文類型：學(xué)位論文

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【摘要】：金圣嘆是我國(guó)明清時(shí)期著名的文學(xué)家、文學(xué)批評(píng)家。他打破文體界限，用讀文章的“一副手眼”來(lái)看待《水滸傳》《西廂記》，并加以評(píng)點(diǎn)，對(duì)后世產(chǎn)生了重大影響。本文從文事關(guān)系論、敘事結(jié)構(gòu)論、敘事節(jié)奏論、敘事角度論四個(gè)方面論述了金圣嘆的敘事思想： （一）文事關(guān)系論。金圣嘆提出《史記》是“以文運(yùn)事”，《水滸傳》是“因文生事”，明確了歷史與小說(shuō)的區(qū)別，并把重心從“事”轉(zhuǎn)向“文”，主張一切“為文計(jì)，不為事計(jì)”�！拔摹庇勺鳛椤笆隆钡妮d體轉(zhuǎn)為主體，，“事”成為“文”的素材，即“事為文料”。而根據(jù)作文的需求，還可以“因文生事”。“生事”要遵循“筆性”的要求，對(duì)題目進(jìn)行前后“那碾”，所生之事包括“楔子”和“波瀾”兩種類型。 （二）敘事結(jié)構(gòu)論。金圣嘆提出“先有成竹在胸，夫而后隨筆迅掃，極妍盡致”的觀點(diǎn)，確立了嚴(yán)整與神變統(tǒng)一的結(jié)構(gòu)觀。同時(shí)，本文從“節(jié)次”“過(guò)接”“章法”三方面闡述了金圣嘆的結(jié)構(gòu)技巧思想，并在此基礎(chǔ)上將文章結(jié)構(gòu)與社會(huì)文化背景相結(jié)合，發(fā)掘表層結(jié)構(gòu)下的深層含義，即“結(jié)構(gòu)之道”。 （三）敘事節(jié)奏論。本文從“情節(jié)節(jié)奏”“敘述節(jié)奏”“情調(diào)節(jié)奏”三方面闡述了金圣嘆的敘事節(jié)奏思想。在情節(jié)節(jié)奏方面，金圣嘆以“風(fēng)”為喻，揭示了情節(jié)發(fā)展的“始——盛——收”，同時(shí)，他發(fā)現(xiàn)故事情節(jié)的一波三折、文勢(shì)的起伏跌宕都會(huì)影響讀者的心理節(jié)奏變化。在敘述節(jié)奏方面，金圣嘆提出“寫(xiě)急事亦不肯少用筆”以及“極忙者事，極閑者筆”的敘述策略，通過(guò)敘述技法來(lái)調(diào)控?cái)⑹鹿?jié)奏。在情調(diào)節(jié)奏方面，金圣嘆指出前后不同的審美情調(diào)能夠使讀者心神蕩漾，獲得極大的審美享受。 （四）敘事角度論。金圣嘆在評(píng)點(diǎn)時(shí)非常注重對(duì)人物視角的點(diǎn)出，實(shí)現(xiàn)了我國(guó)古代敘事視角“理論上的自覺(jué)”。本文通過(guò)“××眼中事”闡述了金圣嘆對(duì)人物眼光的看法，通過(guò)“影燈漏月”說(shuō)明了聽(tīng)覺(jué)敘事的審美效果，通過(guò)“一句看他多曲”分析了金圣嘆所標(biāo)注的人物眼光的流動(dòng)與疊加效果。 本文的創(chuàng)新點(diǎn)在于：（一）在論述時(shí)力求避免用西方敘事學(xué)理論來(lái)圖解金圣嘆的敘事思想，而是回到金圣嘆評(píng)點(diǎn)本身，對(duì)之進(jìn)行還原，試圖總結(jié)出原汁原味的金圣嘆敘事思想；（二）本文把金圣嘆的評(píng)點(diǎn)置于文章學(xué)理論系統(tǒng)中，從“做得好文字”的目的出發(fā)，試圖從“虛構(gòu)敘事”角度總結(jié)出敘事文學(xué)創(chuàng)作方法；（三）在個(gè)別具體理論闡述上的創(chuàng)新，如拈出“成竹在胸”與“隨筆迅掃”來(lái)說(shuō)明金圣嘆嚴(yán)整與神變統(tǒng)一的結(jié)構(gòu)觀；強(qiáng)化了“影燈漏月”的聽(tīng)覺(jué)敘事的論述，并摘取“一句看他多曲”的表述闡釋人物眼光的流動(dòng)與疊加等。 作為我國(guó)小說(shuō)評(píng)點(diǎn)界的巨擘，金圣嘆代表了我國(guó)古代敘事理論的高峰。本文通過(guò)對(duì)其敘事思想進(jìn)行研究，試圖構(gòu)建一個(gè)立足中國(guó)本土且有益于當(dāng)下敘事文學(xué)創(chuàng)作與批評(píng)實(shí)踐的敘事理論體系，這也是本文的寫(xiě)作意圖所在。
[Abstract]:Jin Shengtan is a famous writer, literary critic of China's Ming and Qing Dynasties. He broke the stylistic boundaries, by reading the article "a hand" to look at "Water Margin > > Xixiangji, and comment, have had great influence on later generations. In this paper the relationship between the theory on the narrative structure, narrative rhythm theory on the four aspects of narrative perspective, discusses Jin Shengtan's narrative thoughts:
(a) the relationship. Jin Shengtan proposed the historical records "in the < >. < >" Water Margin "because of the trouble", a clear distinction between history and fiction, and focus from "things" to "text", "the article advocates all, not for things". From the "text" as a "thing" as the main carrier of the turn, "thing" has become the "text" of the material, namely "things for the material. According to the composition of the demand, but also" because of the trouble. "" trouble "to follow the" pen ", on the topic of" that run before and after "the things including" wedge "and" waves "of two types.
(two) on the narrative structure. Jin Shengtan put forward the "first, then fast sweep have ready plans to meet a situation, essays, extremely Yan head", established the structure of thorough and uniform view of God changed. At the same time, this article from the "Festival" "the" "practice" three aspects of Jin Shengtan's thought and skill structure. On this basis, the article structure and the social and cultural background of the combination of the deep meaning of excavation surface structure under the "structure of the road.
(three) narrative rhythm theory. This paper from the "rhythm" and "narrative rhythm" "exotic rhythm" three aspects of Jin Shengtan's thought. The narrative rhythm in the plot rhythm, Jin Shengtan to "wind" as a metaphor, reveals the development of the plot "beginning -- - Sheng", at the same time, he found the story the potential of the ups and downs of striking one snag after another, will affect the readers' psychological rhythm changes. In the narrative rhythm, Jin Shengtan put forward the "urgent also refused to write small pen" and "very busy, very busy person pen" narrative strategy, through narrative techniques to control the narrative rhythm. The rhythm in the mood, Jin Shengtan said the different aesthetic sentiment can make readers smile, get great aesthetic pleasure.
(four) theory of narrative angle. Jin Shengtan attaches great importance to the point of view of the characters in the comments, the realization of China's ancient narrative perspective "consciousness" theory. Through "* * eyes thing" describes Jin Shengtan's views on people vision, through the "shadow light leakage" explains to the aesthetic effect of sleep the narrative, through "a word he song" to analyze the effect of flow and superposition of Jin Shengtan marked characters eye.
The innovation of this paper lies in: (a) in the discussion of desirable to avoid graphic Jin Shengtan with the western narrative theory of narrative ideas, but returned to Jin Shengtan's comment itself, to restore, trying to summarize the authentic narrative of Jin Shengtan thought; (two) the Jin Shengtan's comment on the theory system, starting from the "well done text", attempts to narrative literature summarized from imaginary narrative perspective; (three) on individual innovation theory, such as twist "and" fast and have ready plans to meet a situation "essay" to explain the structure of Jin Shengtan thorough and God becomes unified concept; strengthen the auditory narrative shadow light leakage month "is discussed, and the removal of" flow and a superposition of He Song "the expression of the characters. The vision of the interpretation
As China's novel comment giant, Jin Shengtan on behalf of the Chinese ancient narrative theory peak. Based on the research of its narrative thoughts, trying to build a foothold China native and beneficial to the present narrative literary creation and criticism of the narrative theory, it is the intention of writing this article.

【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：I206.2

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