李渔跨文体创作现象研究

发布时间：2018-03-18 01:31

本文选题：李渔　切入点：跨文体创作　出处：《扬州大学》2017年硕士论文　论文类型：学位论文

【摘要】：李渔擅长跨文体创作,在他创作的小说、戏曲、诗词和文章中体现出较为明显的跨文体创作现象。本文分四个部分来讨论李渔作品不同文体之间的渗透与影响,并作出适当的评价。第一章绪论,对跨文体创作的总体现象、李渔跨文体创作的独特条件进行阐述,分析本论题的价值与意义,并提供研究现状,展示本论题的研究空间。本章主要揭示众多作家成功的多文体创作突破了文体的局限和桎梏,使多文体创作成为可能,而李渔的创作理念恰如其分地适应多文体的创新要求,他的个性也在多文体创作中表现得淋漓尽致。他的经验为跨文体创作提供了许多有益的启示。第二章对李渔戏曲与小说的跨文体创作进行研究。李渔关于“无声戏”、“稗官为传奇蓝本”的说法透露出他将小说与戏曲进行跨越式创作的企图。李渔小说中借用了戏曲叙事和时空处理等手段,塑造人物也大量采用戏曲手法,并且在字里行间铺陈了众多戏曲因素。而品读李渔四种小说改编的传奇则更为明显感知到小说对戏曲的渗透,无论在宾白还是格局方面都充满了小说元素。第三章对李渔诗词与小说的跨文体创作进行研究。李渔小说中的诗词是具有独特性的,它们是李渔有意识、自觉的创作,并且与情节有强烈的关联性。其中篇首诗功能性强,起到概括小说内容、点明主旨的作用,而正文中的诗词不仅联络情节的开端与发展,还为小说营造了诗意的氛围。第四章对李渔小说与文章的跨文体创作进行研究。李渔文章对小说的影响与诗词相似,入话成为小说开启的序幕,正话中的各类文章则成为小说情节发展的契机,这些文章以浅近文言的语言方式体现了李渔的小品文精神。而小说叙事对李渔许多文章产生了影响,这里重点介绍其小说对山水游记类、人物传记类以及《闲情偶寄》的深入渗透。最后对李渔跨文体创作现象作总体概括,再次说明他的努力是对多文体创作的积极探索,并且希望从跨文体这个角度进一步发掘李渔作品整体的艺术价值。
[Abstract]:Li Yu is good at cross-stylistic creation, and his novels, operas, poems and articles reflect the phenomenon of cross-stylistic creation. This paper discusses the infiltration and influence between different styles of Li Yu's works in four parts. The first chapter introduces the general phenomenon of cross-stylistic creation and the unique conditions of Li Yu's cross-stylistic creation, analyzes the value and significance of this thesis, and provides the status quo of the research. This chapter mainly reveals that the successful multi-stylistic creation of many writers has broken through the limitations and shackles of stylistics, making multi-stylistic creation possible, while Li Yu's creative idea adapts to the requirements of multi-stylistic innovation. His personality is also reflected incisively and vividly in his multi-stylistic creation. His experience provides a lot of useful inspiration for cross-stylistic creation. Chapter two studies the cross-stylistic creation of Li Yu's opera and novel. On "Silence" by Li Yu. "the drama", "the official of the barnyard is the legendary blueprint" theory reveals his intention of leaping over the creation of novels and operas. In Li Yu's novels, he borrows the means of drama narration and space-time treatment, and so on. A lot of traditional Chinese opera techniques are also used to create characters, and many elements of drama are laid out in the lines. The legend of Li Yu's four novel adaptations is more obviously aware of the permeation of the novel to the opera. The third chapter studies the cross-stylistic creation of Li Yu's poems and novels. The poems in Li Yu's novels are unique, they are the conscious and conscious creation of Li Yu. And there is a strong correlation with the plot. Among them, the first poem has strong functionality, which plays the role of summarizing the content of the novel and pointing out the gist, while the poems in the text not only relate to the beginning and development of the plot, but also to the beginning and development of the plot. It also creates a poetic atmosphere for the novel. Chapter 4th studies the cross-stylistic creation of Li Yu's novels and articles. All kinds of articles in Zheng dialect have become the turning point of the development of the plot of the novel. These articles embody the spirit of Li Yu's essay in the language of shallow and near classical Chinese, and the narrative of the novel has had an impact on many of Li Yu's articles. In this paper, the author mainly introduces his novels' deep penetration into the types of travel notes, biographies, and occasional letters of leisure. Finally, he generalizes the phenomenon of Li Yu's cross-stylistic creation, and explains once again that his efforts are an active exploration of multi-stylistic creation. And hope to further explore the overall artistic value of Li Yu's works from the angle of cross-style.
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I206.2

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