本文選題：水滸傳 + 張吉山　； 參考：《延邊大學(xué)》2012年碩士論文

【摘要】：中國古典長篇小說《水滸傳》是一部長期醞釀而成的作品。因此,《水滸傳》中,眾多的人物和復(fù)雜的情節(jié),都有其不同的歷史和背景。隨著時代和讀者的主觀意識的變遷,對作品的理解也會有所變異。而韓國的小說《張吉山》同樣是一部口碑非常好的長篇小說。這部作品中的故事和情節(jié)同樣是曲折離奇,非常耐人尋味�！稄埣健放c《水滸傳》一樣是“義賊”類的小說。所以本文按照比較文學(xué)中平行研究的方法,對下列幾個能使人產(chǎn)生共鳴的類型,進行剖析。 其一,《水滸傳》與《張吉山》的創(chuàng)作背景與內(nèi)容比較。這兩部作品,在作品中與作品外的時代背景都是有時間差距的。《水滸傳》是以元朝的事用宋朝的人物來描寫和闡釋,而《張吉山》是把20世紀(jì)后的事以17世紀(jì)的朝鮮為背景描寫。且兩部作品都是以批判當(dāng)時所處時代的黑暗面,同時揭示了革命的斗爭性。其二,在形式層面進行比較。形式層面分為兩種,一為結(jié)構(gòu),二為語言和方言的使用進行比較。結(jié)構(gòu)是一部作品的框架,所以結(jié)構(gòu)比較是必不可少的。而語言的使用可以算得上是與讀者溝通的橋梁,語言的準(zhǔn)確使用可以決定作品的成敗。本文中對語言藝術(shù)的比較研究本身具有重要的意義。其三,在內(nèi)容成面上,對人物與主題進行比較研究。人物比較中,本文分為了男性和女性人物進行了比較研究。劃分男性和女性人物會使讀者更深一步了解人物的個性與在作品中的作用。主題類型的比較。主題類型分為兩種,一是“亂世”,二是理想�！端疂G傳》與《張吉山》是“義賊”一類的小說,所以“亂世”是兩部作品的中心主題,并且是小說的大動脈。而理想是伴隨著“亂世”誕生的另一個主題。以上都是《水滸傳》與《張吉山》中比較好理解的研究課題。讀者若是根據(jù)上述研究來解讀《水滸傳》與《張吉山》會有更進一步的認(rèn)識。 從兩部作品的創(chuàng)作價值來看,進行比較研究會對中韓兩國的小說史或小說延續(xù)會起到承上啟下的作用�！端疂G傳》在中國的地位是不言而喻的,而《張吉山》在韓國小說的地位也是不可動搖的。所以兩部作品的比較研究會促使兩國的小說研究的發(fā)展。
[Abstract]:Chinese classical novel Water margin is a long-term brewing work. Therefore, in the Water margin, many characters and complex plot have their different history and background. With the change of the times and the subjective consciousness of the readers, the understanding of the works will also change. South Korea's novel Jang-jee-shan is also a very good novel. The story and plot in this work are equally zigzag and intriguing. Zhang Jishan and Water margin are just like "righteous thieves" novels. Therefore, according to the method of parallel research in comparative literature, this paper analyzes the following types that resonate with people. First, the creation background and content comparison between Water margin and Zhang Jishan. There is a time gap between the two works and the background of the times outside the works. The Water margin is described and explained by the characters of the Song Dynasty in the Yuan Dynasty. Zhang Jishan describes the events after the 20 th century against the background of North Korea in the 17 th century. Both works criticize the dark side of the time and reveal the fighting of revolution. Second, in the formal level of comparison. The formal level is divided into two types, one is the structure, the other is the comparison between the use of language and dialects. Structure is the framework of a work, so structure comparison is essential. The use of language can be regarded as a bridge of communication with readers, and the accurate use of language can determine the success or failure of the work. The comparative study of language art in this paper is of great significance in itself. Third, in the content of the surface, the characters and the theme of comparative research. In the comparison of characters, this paper is divided into male and female characters to carry on the comparative research. The distinction between male and female characters will give readers a deeper understanding of their personality and role in their works. Comparison of subject types. The theme types are divided into two types: one is "gone with the Wind" and the other is ideal. "Water margin" and "Zhang Jishan" are novels of "righteous thief", so "gone with the Wind" is the central theme of the two works and is the main artery of the novel. The ideal is another theme with the birth of "gone with the Wind". The above are relatively easy-to-understand research topics in Water margin and Zhang Jishan. Readers will have a better understanding of Water margin and Zhang Jishan. From the point of view of the creative value of the two works, a comparative study will serve as a link between the history of the novels of China and South Korea or the continuation of the novels. The position of the Water margin in China is self-evident. The position of Jang-san in Korean novels is also unshakable. Therefore, the comparative study of the two works will promote the development of novel study in the two countries.
【學(xué)位授予單位】：延邊大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：I207.412;I312.507.4

【參考文獻】

相關(guān)期刊論文 前7條

1 朱占青;;《水滸傳》女性形象:市民階層文化心理的折射[J];安徽科技學(xué)院學(xué)報;2007年06期

2 熊明;;魯智深:理想人格范式的承載——兼從魯智深形象塑造中的佛教內(nèi)容考察其在《水滸傳》中的特殊地位[J];菏澤學(xué)院學(xué)報;2007年01期

3 郭興良;《水滸傳》的文化精神[J];明清小說研究;1993年02期

4 李獻芳;《水滸傳》中三英雄女性說略[J];山東教育學(xué)院學(xué)報;2002年05期

5 劉衛(wèi)英,千一花;《洪吉童傳》簡析及與《水滸傳》的比較研究[J];十堰職業(yè)技術(shù)學(xué)院學(xué)報;2005年03期

6 陳慶紀(jì);;從魯智深形象的塑造看《水滸傳》的深層思想蘊涵[J];煙臺大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);2009年01期

7 孫燕;女性形象的文化闡釋[J];中州學(xué)刊;2004年05期

，

本文編號：2021162