摘要
《西游记》故事结构中存在一部分家庭家族书写,所涉家庭家族主要包括凡人与神魔两大种类。在主要人物角色设置上,其家庭家族书写形成了家庭家族式的空间意象,比较典型的是花果山、高老庄、流沙河三个家庭家族空间。《西游记》中的家庭家族书写具有深刻的文化内涵,吴承恩借凡人家庭面临危难时的弱势地位影射社会弊病,借神魔家庭家族复杂关系折射社会现实。
The family writing is an important part of the story structure in The Journey to the West,which includes two categories:mortal and fairy.In the setting of the major characters,the family writing creates the spatial image of the family,typical of which are three family spaces:Hua Guo Shan,Gao Lao Zhuang and Liu Sha River.There is profound cultural connotation in family writing in the novel,where Wu Cheng’en alludes to social problems by depicting the vulnerable human family when facing danger,and reflects the social reality by describing the complicated relationship of the fairy family.
作者
姜晓娟
蒋蔚
JIANG Xiao-juan;JIANG Wei(School of Humanities,Shaanxi University of Technology,Hanzhong,Shaanxi 723000,China)
出处
《盐城师范学院学报（人文社会科学版）》
2018年第4期49-54,共6页
Journal of Yancheng Teachers University（Humanities & Social Sciences Edition)
关键词
《西游记》
家庭家族
空间意象
文化内涵
The Journey to the West
family
spatial image
cultural connotation
