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现存的杂剧文本多属文人创作,叙事文学的特征鲜明。如何借鉴现代叙事学理论来研究杂剧的叙事机理,不仅对当前的戏曲文学研究有所裨益,而且能为继续构建中国叙事学的理论提供参考。本组笔谈三篇文章,分别从不同角度对此进行了研究。第一篇研究了杂剧的形成发展过程以及它独特的叙事机制;第二篇以公案戏为例,研究了元杂剧中“谁在叙事”、“代谁叙事”的话语权问题;第三篇以杨潮观的《吟风阁杂剧》为例,研究了杂剧作家在面临既有史实、传说等现成素材时如何叙事的问题。
Most of the extant drama texts are written by literati, and the characteristics of narrative literature are distinct. How to use the modern narratology theory to study the narrative mechanism of the drama not only benefits the current study of opera literature, but also provides reference for continuing to construct the theory of Chinese narratology. This group of articles on three articles, respectively, from different angles of this study. The first part studies the process of the formation and development of the drama and its unique narrative mechanism. The second part takes the case of the drama as an example to study the issue of the discourse of “who is narrating” and “who is narrating” Thirdly, this thesis investigates how the narrative writer tells the story of the existing historical facts, legends and other material when Yang Chao’s “Yin Yin Ge Zaju” is taken as an example.