本文選題：莊子寓言 + 敘事學　； 參考：《青海師范大學》2017年碩士論文

【摘要】：《莊子》是一部具有深邃玄妙思想的哲學著作,雖然并非致力于文學藝術魅力的創(chuàng)造,但《莊子》仍具有極高的文學藝術成就,在先秦文學乃至中國文學史上都具有不可忽視的地位。書中諸多想象奇妙、寓意深刻的寓言更是我國古典文學中的瑰寶�！肚f子》寓言已經具備人物、情節(jié)等敘事要素,是我國傳統(tǒng)敘事文學的重要部分。然而相對于成果頗豐的先秦時期史傳文學的敘事研究,《莊子》寓言的敘事研究尚不充分。本文以敘事學理論對《莊子》寓言進行分析,以探析《莊子》寓言在敘事上的一些特點,以及這種敘事上的特點在表達文章主旨過程中發(fā)揮的作用。本文第一部分為緒論,簡要說明研究緣起;對《莊子》寓言的概念進行界定,闡明《莊子》書中寓言所指并非后世文體學意義上的寓言;對運用敘事學原理研究《莊子》寓言的現(xiàn)狀進行梳理。第二部分首先對《莊子》寓言的概念“藉外論之”和寓言在三言中的表達——“以寓言為廣”進行論述,闡明寓言在《莊子》中的主導地位。寓言在莊子闡道過程中的表達作用十分重要,而莊子寓言的敘事特征在其表達思想、闡釋道理的過程中也起到重要作用。其次將《莊子》中的寓言根據(jù)其敘事性是否明顯,是否具有完整的故事情節(jié)和清晰獨立的寓意分為準寓言、具備一定故事性的寓言和寓言故事三類。并將這些寓言按照敘事學對敘事的界定進一部分為了陳述性寓言和敘事性寓言。第三部分論述寓言中的人物形象。首先對人物形象進行分類,分為神鬼的形象、人的形象和物的形象。其中人的形象一類又分為歷史人物形象、能工巧匠形象、畸人形象,由于莊子本人形象有一定的特殊性,所以單獨列出,與其他三類并列。其次運用敘事學理論中的功能型人物觀來分析,說明雖然寓言中有一些塑造的性格鮮明的形象,但是所有的形象最主要的作用都是為了闡“道”這個最終宗旨而服務的,具有典型的功能型形象。并根據(jù)形象的功能,分為聞道者與釋道者、體道者與悖道者、辯道者五類,并說明其各自在寓言中發(fā)揮的作用。第四部分以寓言故事為目標,分別從敘事節(jié)奏、敘事者類型、敘事視角等方面運用敘事學理論探討了莊子寓言的敘事策略。第三節(jié)闡明了寓言所采用的不可靠敘述策略。最后結語是對全文的總結。本文以敘事學理論為理論指導,以敘事學的視野研究莊子寓言,爭取部分揭示莊子寓言所具有的敘事特征在表達道學主旨的過程中所發(fā)揮的作用。
[Abstract]:Zhuangzi is a philosophical work with profound and mysterious thoughts. Although it is not devoted to the creation of literary and artistic charm, Zhuangzi still has very high literary and artistic achievements. In pre-Qin literature and even in the history of Chinese literature has a position that can not be ignored. The fables in the book are also the gems in the classical literature of our country. The fable of Zhuangzi already has the narrative elements such as characters and plot, which is an important part of the traditional narrative literature of our country. However, the narrative study of Zhuangzi fable is not sufficient compared with the narrative study of the historical biography literature in the pre-Qin period. Based on the theory of narratology, this paper analyzes the fable of Zhuangzi, in order to explore some characteristics of the fable in the narrative, and the function of this narrative in the process of expressing the main theme of the article. The first part of this paper is an introduction, which briefly explains the origin of the study, defines the concept of fables in Zhuangzi, and clarifies that fables in Zhuangzi are not fables in the sense of stylistics of later generations. To use narratology principle to study "Zhuangzi" the fable present situation carries on the comb. The second part first discusses the concept of "Zhuangzi" fable and the expression of fable in three words-"Fable as wide", and clarifies the dominant position of fable in Zhuangzi. The expression of fable is very important in the process of Zhuangzi's interpretation, and the narrative characteristics of Zhuangzi's fable also play an important role in the process of expressing his thoughts and explaining the truth. Secondly, the fables in Zhuangzi are classified into quasi-fables, fables and fables of a certain nature according to whether they are obvious in narrative, whether they have complete story plot and clear and independent moral. According to narratology's definition of narrative, these fables are partly for declarative fables and narrative fables. The third part discusses the figures in the fable. First of all, the image of the characters are classified into the image of gods and ghosts, the image of people and the image of things. The image of human being is divided into historical figure image, craftsman image and grotesque person image. Because of the particularity of Zhuangzi's own image, it is listed separately and juxtaposed with the other three categories. Secondly, using the functional character view in narratology theory to analyze, it shows that although there are some vivid characters in the fable, the most important function of all the images is to serve the ultimate purpose of "Tao". Has a typical functional image. According to the function of image, it can be divided into five categories: the evangelist and the evangelist, the body and the disobedient, the speaker, and the role they play in the fable. The fourth part discusses the narrative strategy of Zhuangzi's fable from the aspects of narrative rhythm, narrator type, narrative angle and so on. Section three illustrates the unreliable narrative strategies used in fables. The final conclusion is a summary of the full text. Based on the theory of narratology, this paper studies Zhuangzi's fables from the perspective of narratology, and tries to reveal in part the role of the narrative characteristics of Zhuangzi's fables in the process of expressing the purport of Taoism.
【學位授予單位】：青海師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：I207.7

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本文編號：1910484