發(fā)布時(shí)間：2018-06-12 11:12

  本文選題：《啟顏錄》 + 民間笑話(huà)��； 參考：《延邊大學(xué)》2016年碩士論文

【摘要】：中國(guó)古代笑話(huà)歷史悠久綿長(zhǎng),春秋戰(zhàn)國(guó)時(shí)期便出現(xiàn)了零星、個(gè)別的引人發(fā)笑的故事。魏晉時(shí)期后更是產(chǎn)生了笑話(huà)集,其中托名于侯白所撰的《啟顏錄》更是中古時(shí)期笑話(huà)集中的佼佼者。其成書(shū)時(shí)間在《隋書(shū)》修成之年即唐太宗貞觀十五年之后到唐玄宗開(kāi)元十一年之間,其中共輯得笑話(huà)104則。其中保存了大量民間笑話(huà),作者運(yùn)用各種巧妙的修辭手法,記述智諷逗樂(lè)、揭短嘲弄,批判貪官污吏,諷刺儒士僧侶的故事,內(nèi)容多姿多彩,語(yǔ)言通俗易懂,風(fēng)格幽默活潑,為我們了解市井民眾的心理和社會(huì)現(xiàn)狀提供了寶貴資料,是民間文化的有力折射,具有深刻的文化價(jià)值。目前對(duì)于《啟顏錄》的研究主要集中在校錄、注釋和內(nèi)容分類(lèi)等方面,利用原型理論研究《啟顏錄》目前還是空白。將其應(yīng)用于文學(xué)創(chuàng)作來(lái)研究文學(xué)作品,發(fā)現(xiàn)作品中的典型模式,也同樣適用。以原型理論為工具,將《啟顏錄》這部笑話(huà)集中的原型放在中國(guó)歷史的角度下,更便于探究其深刻的文化涵義。論文共分四章,第一章對(duì)論文研究的目的和意義,論文的研究現(xiàn)狀以及論文研究的范圍和方法進(jìn)行了概述。第二章根據(jù)文獻(xiàn)考證和文本內(nèi)容,對(duì)《啟顏錄》的作者和版本進(jìn)行全面細(xì)致的考證,隨后對(duì)《啟顏錄》主要內(nèi)容的分類(lèi)歸納,為第三章原型解讀做充分的準(zhǔn)備。在第三章中介紹榮格的原型理論,并整理出《啟顏錄》中的自性原型、人格面具原型以及陰影原型,并進(jìn)行全方面、多維度的解讀。在原型理論視角下,《啟顏錄》中的笑話(huà)不再單純地從屬于民間笑話(huà),其內(nèi)涵也不再停留于簡(jiǎn)單地嘲諷逗趣,通過(guò)自性原型揭開(kāi)其逗趣外表下對(duì)中國(guó)封建社會(huì)中等級(jí)森嚴(yán)制度的挑戰(zhàn),對(duì)傳統(tǒng)道德禮教的嘲諷。剖析古代典型人物的人格面具下的處世之道與人生態(tài)度、君臣面具下的批判精神,以及僧侶面具下對(duì)佛教戒律的尖酸嘲諷。其中陰影原型是造成這一切的最主要的影響者,它對(duì)中國(guó)人幽默傾向所起到的指引作用,對(duì)丑陋表現(xiàn)的直接揭露以及對(duì)階級(jí)壓迫的最直接發(fā)抗。這種不同于西方的黑色幽默形式追本溯源到底從何而來(lái),論文對(duì)笑話(huà)中的原型進(jìn)行全局性的文化解讀,將解答這個(gè)疑問(wèn)。論文第四章研究《啟顏錄》中的原型的認(rèn)識(shí)價(jià)值、美學(xué)價(jià)值以及社會(huì)價(jià)值的,對(duì)我們研究當(dāng)代傳統(tǒng)民間文化有著十分重要的影響,并提高民間笑話(huà)的價(jià)值,有利于提升我們對(duì)傳統(tǒng)文化的保護(hù)意識(shí)。對(duì)《啟顏錄》進(jìn)行原型研究,不再局限于笑話(huà)本身,而是立足于中國(guó)傳統(tǒng)文化,放眼于整個(gè)中國(guó)古代傳統(tǒng)文化體系,力圖發(fā)現(xiàn)笑話(huà)中反復(fù)出現(xiàn)的意象所蘊(yùn)藏的文化淵源和文化傳承。這種分析方法使我們挖掘出被笑話(huà)作品本身所遮蔽的原型所代表的意義和影響,從而提高了中國(guó)古代笑話(huà)的價(jià)值,并為我們發(fā)揚(yáng)傳承中國(guó)古代傳統(tǒng)幽默提供了理論依據(jù)。
[Abstract]:Chinese ancient jokes have a long history, Spring and Autumn and warring States appear sporadic, individual funny stories. After the Wei and Jin dynasties, joke collection was produced, among which the book named by Hou Bai was the best one in the middle ancient period. The time of its completion was 15 years after the completion of Sui Shu, from 15 years after Tang Taizong to Kaiyuan of Tang Xuanzong, in which 104 jokes were collected. Among them, a large number of folk jokes have been preserved. The author uses various ingenious rhetorical devices to account for witty irony, ridicule, criticism of corrupt officials, satirizing the stories of Confucian monks and monks, with colorful content, easy language, and humorous style. It provides valuable information for us to understand the psychological and social situation of the people in the city. It is a powerful refraction of folk culture and has profound cultural value. At present, the research on "Qiyan Records" is mainly focused on the aspects of school record, annotation and content classification, but the study of "Qiyan record" by using prototype theory is still blank at present. Apply it to literary creation to study literary works, and find out that the typical patterns in works are also applicable. With the prototype theory as the tool, the prototype of the joke set is put under the angle of Chinese history, and it is more convenient to explore its profound cultural meaning. The thesis is divided into four chapters. The first chapter summarizes the purpose and significance of the research, the present situation of the research, the scope and methods of the research. The second chapter, according to the textual research and the text content, carries on the comprehensive and detailed textual research to the author and the edition of "Qiyan Lu", then classifies and induces the main contents of the "Qiyan Records", and makes sufficient preparations for the third chapter's archetypal interpretation. In the third chapter, we introduce Jung's archetypal theory, and sort out the archetypes of self, mask and shadow, and interpret them in all aspects and dimensions. From the perspective of archetypal theory, the jokes in "opening Yan Records" are no longer simply subordinate to folk jokes, nor do their connotations stop at simple ridicule. Through the archetype of self-nature, the author reveals the challenge to the hierarchical strict system in Chinese feudal society under its funny appearance, and the ridicule of the traditional morality and propriety. This paper analyzes the way and attitude of life under the personality mask of the ancient typical characters, the critical spirit under the mask of monarch and minister, and the acrid irony of Buddhist precepts under the mask of monks. The archetypal shadow is the most important factor that causes all this. It plays a guiding role in the humor tendency of the Chinese people, and directly exposes the ugly performance and the most direct resistance to the oppression of the class. This form of black humor, which is different from that of the West, comes from where it comes from, and this question will be answered by an overall cultural interpretation of the archetypes of jokes. In the fourth chapter, we study the cognitive value, aesthetic value and social value of the prototype, which has a very important impact on our study of contemporary traditional folk culture, and improve the value of folk jokes. It is helpful to enhance our consciousness of protecting traditional culture. The archetypal study of the book is no longer confined to the joke itself, but based on the traditional Chinese culture, looking at the whole system of ancient Chinese traditional culture. Try to find the cultural origin and cultural heritage of the repeated images in jokes. This analysis method enables us to excavate the meaning and influence represented by the archetypes obscured by the joke works itself, thus enhancing the value of the ancient Chinese jokes and providing a theoretical basis for us to carry forward and inherit the ancient Chinese traditional humor.
【學(xué)位授予單位】：延邊大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類(lèi)號(hào)】：I207.7

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本文編號(hào)：2009464