尚继武,李传江.《镜花缘》崇德扬善主体思维的叙事功能[J].,2022,(4):95-102
《镜花缘》崇德扬善主体思维的叙事功能
The Narrative Function of the Subjective Thinking of Advocating Virtue and Goodness in Flowers in the Mirror
投稿时间:2022-06-07  
DOI:
中文关键词:  清代小说  《镜花缘》  儒家伦理思想  主体思维  叙事功能
English Keywords:novels of the Qing Dynasty  Flowers in the Mirror  Confucian ethics  subjective thinking  narrative function (
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作者单位
尚继武 连云港师范高等专科学校 文学院,江苏 连云港 222006 
李传江 连云港师范高等专科学校 文学院,江苏 连云港 222006 
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中文摘要:
      文章立足于儒家伦理观、文学观考察《镜花缘》的创作主体思维,并运用社会历史批评、文本细读、结构分析等方法剖析其叙事功能。研究发现,《镜花缘》主体思维具有鲜明的崇德扬善倾向,对叙事产生了深刻影响,主要体现在三个方面:其一,不仅规约了为女子立传的创作意图,展现了百名才女的精神内核与儒家伦理思想的相合之处,而且强化了宣扬儒家伦理思想的创作宗旨,使民生疾苦和民风教化问题得到特别关注。其二,支配了创作素材的选择与加工,作者从恪守伦理、提高修养和践行仁义的角度展现个体人格魅力,从实施仁政、关心民生和勤政为民的角度表现社会政治理想。其三,作者带着强烈的干预意识安排故事走向和设置人物言行,乃至有意无意地忽视了情节延伸和人物性格发展的内在逻辑。
English Summary:
      Based on the view of Confucian ethics and literature, this paper examines the main thinking of Li Ruzhen's creation of Flowers in the Mirror, and analyzes its narrative function by means of social and historical criticism, text close reading, and structure analysis. The study finds that the main thinking of Flowers in the Mirror has a distinct tendency of advocating virtue and goodness, which has a profound impact on the narrative, mainly reflected in three aspects. First, it stipulates the creative intention of creating biographies for women, shows the consistency between the spiritual core of 100 talented women and Confucian ethics, and strengthens the creative purpose of advocating Confucian ethics, so that the problems of people's livelihood and folk customs education receive special attention. Second, it dominates the selection and processing of creative materials, so that the author can show the charm of individual personality from the perspective of abiding by ethics, improving self-cultivation and practicing benevolence and righteousness, and expresses the social and political ideals from the perspective of implementing benevolent government, caring for the people's livelihood and diligent administration for the people. Third, it urges the author to arrange the story direction and set the characters' words and deeds with a strong sense of intervention, and even intentionally or unintentionally ignores the internal logic of plot extension and character development.
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