陕北说书悲剧意识初探

发布时间：2018-04-03 15:39

本文选题：陕北说书　切入点：悲剧意识　出处：《陕西师范大学》2010年硕士论文

【摘要】： 陕北说书是我国西北地区十分重要的民间说唱艺术,这种艺术的大部分优秀作品都蕴含着一种对生命和历史无以名状的苍凉和悲哀感。这种深广的悲剧意识,完全可以和古希腊悲剧相提并论而无愧色。这么重要的学术生长点,却为以往的研究者所忽视。本论文的主旨,就是通过对悲剧理论的梳理和陕北说书代表书目的解读,对陕北说书悲剧意识的生成和表现形式等基础性问题进行初步的探讨,并通过比较研究,对陕北说书悲剧意识的学术坐标进行初步的定位,从而填补这一研究空白,为丰富和发展民族悲剧意识添砖加瓦。在第一章里,我们首先对人类共通的悲剧意识这一概念进行了建构和辨析。我们倾向于认同程亚林先生的界说：悲剧意识是对人类生命在世生存的悲壮性的意识。我们接着又对悲剧与悲剧意识这一对常被混用的概念进行了辨析,得出二者的区别有二：内涵不同,悲剧是一种艺术,而悲剧意识是一种人类精神意识；外延不同,悲剧包括悲剧意识,悲剧意识是悲剧的要素之一。在第二章这一主体章中,我们首先简要追溯了陕北说书悲剧意识的生成因子,接着详细论述了陕北说书悲剧意识的具体表现形式。我们初步认为陕北说书悲剧意识的形成因素至少有四个：恶劣的自然环境、游牧文化的影响、痛苦的历史记忆和盲艺人的苦难意识。我们初步认为陕北说书悲剧意识的表现形式主要有三种：一悲到底、绝无救赎(或日刚性悲剧意识),始悲终欢、亮色结尾(或曰柔性悲剧意识)以及貌似大喜、实为大悲(或日隐性悲剧意识)。在第三章里,为了较为准确地定位陕北说书悲剧意识的学术坐标,我们特选取古希腊悲剧与我国古典悲剧两个横纵参照轴,让它们分别与陕北说书展开对话。受篇幅制约,我们以点带面,首先让陕北说书刚性悲剧意识的杰出代表《十不亲》和古希腊命运悲剧的典范之作《俄狄浦斯王》展开对话。对话的结果是：二者共通之处至少有两点：都是一悲到底,绝无大团圆结局之趣；都是绝望中的反抗,都有抗命意识。二者差异主要是,《十不亲》在悲剧意识的横向拓展方面更胜一筹,《俄狄浦斯王》在悲剧意识的纵向挖掘方面略占上风。接着让陕北说书柔性悲剧意识的范本《卖婆姨》和我国古典悲剧之冠《窦娥冤》展开对话。对话的结果是：二者共通之处也至少有两点：都是悲喜交集,悲大于喜；都是团圆结局,都有外力相助。二者差异主要是,《卖婆姨》在悲剧意识的广度方面略胜一筹,《窦娥冤》在悲剧意识的深度方面棋高一着。实际上,共通之处也好,差异也罢,都是四剧展开历史性平等对话的必要前提和学理基础。一言以蔽之,我们的结论是：就陕北说书优秀作品所蕴含的深广悲剧意识而言,它完全可以列于世界大悲剧之列而无丝毫逊色。
[Abstract]:North Shaanxi storytelling is a very important folk rap art in Northwest China. Most of the excellent works of this art contain a sense of desolation and sadness for life and history.This profound sense of tragedy can be compared with the tragedy of ancient Greece.Such an important academic growth point has been ignored by previous researchers.The main purpose of this thesis is to make a preliminary discussion on the basic problems, such as the formation and manifestation of the tragic consciousness of the narrative books in Northern Shaanxi, through the combing of the tragedy theory and the interpretation of the bibliography of the representative books of the narrative books in Northern Shaanxi, and through the comparative study.The academic coordinate of the tragic consciousness of the storytelling in Northern Shaanxi is preliminarily positioned to fill the research blank and contribute to the enrichment and development of the national tragic consciousness.In the first chapter, we construct and discriminate the common sense of tragedy.We tend to agree with Mr. Cheng Yalin's definition that tragic consciousness is the consciousness of the tragic nature of human life.Then we analyze the concept of tragedy and tragedy consciousness, which are often used together, and find that there are two differences between them: tragedy is an art, tragedy is a kind of human spiritual consciousness, and its extension is different.Tragedy includes tragic consciousness, which is one of the elements of tragedy.In the second chapter of this main chapter, we first briefly trace the causes of the tragic consciousness of the narrative book in Northern Shaanxi, and then discuss in detail the specific forms of expression of the tragic consciousness of the narrative book in the north part of Shaanxi Province.We preliminarily believe that there are at least four factors forming the tragic consciousness of the storytelling in Northern Shaanxi: the harsh natural environment, the influence of nomadic culture, the painful historical memory and the consciousness of suffering of blind artists.We preliminarily believe that there are three main forms of the tragic consciousness of the storytelling in Northern Shaanxi: one is that there is no salvation (or rigid tragic consciousness), the beginning is sad, the end is sad, the bright ending (or the soft tragic consciousness) and the appearance of great joy.In fact, it is a great tragedy (or a hidden tragic consciousness of the day).In the third chapter, in order to accurately locate the academic coordinate of the tragic consciousness of the storytelling in Northern Shaanxi, we select two horizontal and vertical reference axes of ancient Greek tragedy and Chinese classical tragedy, and let them have a dialogue with the narrative books of Northern Shaanxi respectively.Under the restriction of space, first of all, we let the outstanding representative of the rigid tragic consciousness of the storytelling in Northern Shaanxi, "Ten not close" and the example of the tragedy of ancient Greece, "King Oedipus" to open a dialogue.The result of the dialogue is that there are at least two things in common: a sad ending, no happy ending, revolt in despair and a sense of disobedience.The main difference between the two is that "Ten not related" is superior in the horizontal expansion of tragedy consciousness, and "Oedipus" has the advantage in the longitudinal excavation of tragedy consciousness.Then let the model of soft tragedy consciousness in the storytelling of Northern Shaanxi, "Aunt Sale", and the crown of Chinese classical tragedy, "Dou E's injustice", to open a dialogue.The result of the dialogue is that there are at least two things in common: both sorrows and joys and sorrows are greater than joys; they are happy endings and both have external forces to help.The main difference between the two is that "Aunt Sale" is a little superior in the breadth of tragedy consciousness, and "Dou E's injustice" is a great achievement in the depth of tragedy consciousness.In fact, whether it is common or different, it is the necessary premise and theoretical basis for the four plays to carry out the historic equal dialogue.In a word, our conclusion is that as far as the profound and extensive tragic consciousness contained in the excellent works of the storytelling in Northern Shaanxi is concerned, it can be listed as one of the great tragedies in the world without inferior to the others.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J826

【参考文献】