摘要
“三言戏”是明末清初的一批戏曲作家对晚明经典话本小说集“三言”的改编作品。戏曲作家增删小说的伦理内容,新增科介姿势以调节伦理氛围。同时,戏曲的表演性、口头性影响了文本中的符号叙事的形成与改动。事实上,这些符号叙事中的伦理变异,是一股被忽视的隐性叙事力量。基于文学伦理学批评这一角度,可以看到“三言戏”中,以科介为代表的隐性伦理叙事会与显性叙事伦理有所冲突。对于戏曲文本的接受者而言,文本舞台与案头的两重属性决定了其叙事与接受方式存在较大差异,间接导致了这一叙事冲突的形成。此外,基于社会道德与伦理冲突的符号化也反映了明清视觉文化对文学叙事的深刻影响。
“San Yan Opera”is an adaptation of the late Ming classic vernacular novel collection“San Yan”by a group of op-era writers in the late Ming and early Qing dynasties.Opera writers add and delete ethical content in novels,and add“Kejie”pos-tures to regulate the ethical atmosphere.At the same time,the performative and oral nature of traditional Chinese opera has influ-enced the formation and modification of symbolic narratives in the text.In fact,the ethical variation in these symbolic narratives is an overlooked implicit narrative force.From the perspective of literary ethical criticism,it can be seen that in the“San Yan Opera”,the implicit ethical narrative represented by Ke Jie conflicts with the ethics in the explicit narrative.For the recipients of opera texts,the dual attributes of the text stage and desk determine significant differences in their narrative and reception methods,indirectly leading to the formation of this narrative conflict.In addition,the symbolization based on the conflict between social morality and ethics also reflects the profound influence of Ming and Qing visual culture on literary narrative.
作者
王一雯
WANG Yi-wen(Chinese Literature Department,Fudan University,Shanghai,200433)
出处
《山西大同大学学报（社会科学版）》
2024年第4期83-88,共6页
Journal of Shanxi Datong University(Social Science Edition)
基金
中国博士后科学基金第72批面上资助项目(2022M720829)
2022年上海市“超级博士后”激励计划(2022095)。
关键词
三言
戏曲
改编
科介
伦理
Sanyan
traditional opera
adaptation
Kejie
ethic
