政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/139195

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政大典藏 > College of Liberal Arts > Department of Chinese Literature > Theses > Item 140.119/139195

Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/139195

Title:	後經典時代：現代視閾中的「四大奇書」及其改寫 The Post-Canon Age: Rewritings of The Four Master Works in Modern Perspectives
Authors:	黃璿璋 Huang, Hsuan-Chang
Contributors:	鄭文惠 Cheng, Wen-huei 黃璿璋 Huang, Hsuan-Chang
Keywords:	四大奇書現代文學與文化故事新編續書後經典 Four Master Works Modern literature and culture Old stories retold Sequels Post-canon
Date:	2022
Abstract:	《三國志通俗演義》、《忠義水滸傳》、《西遊記》和《金瓶梅詞話》在中國文學史上被譽為明代最傑出的四部小說。四部小說出版後，經明清評點家、現當代評論者的詮解，認為它們在敘事、結構、人物塑造與美學建構的優異表現皆非同時代作品可及，堪稱為「經典」之「四大奇書」。亦即，所謂「四大奇書」是小說「經典」，其實是文學史的後見之明。四部小說在文人化或經典化以前，歷「說故事」的表演、書寫、行銷、閱讀、評論等群體互動行為之生產，體現中國小說「世代累積型」的特色。四部小說早在成為「定本」以前，「故事」在不斷地「言說」與「閱讀」之間，成為了社群共同參與的文化資產。現存諸多明清古典小說「續書」，即是在續寫、翻案的改編行為裡，反映創作者「當下」面對的價值更新與社會情境，是為一場集體的、世代相傳的，編織意義的行動。在中國現代化時期，「說故事」的傳統仍持續發生。對於「四大奇書」的現代新編，歷來學者較關注於晚清「新小說」所傳達的「啟蒙救國」，民國以後的研究卻付之闕如，泰半聚焦魯迅以來，五四新文學的「故事新編」體對古代歷史、傳說的改造發明。然而，晚清以後文人，仍仿照「新小說」的「章回體」敘事模式，持續以改寫行動思考古典名著「四大奇書」的現代轉型與文本更新，並藉由現代報刊、影戲等新媒體的傳播，獲得廣大的閱讀群眾與迴響。這批作者的身分多屬鴛鴦蝴蝶派、喜劇作家、滿洲遺民，甚至是不具名的作品。相對於以「五四」為標竿的菁英文學家，這些經典文學史的邊緣人物，其創作往往被視為文化的「雜質」，但他們與五四「新文學」的故事新編者，同樣是在回應「現代性」中的「傳統性」，且更彰顯出一個時代整體庶民的精神面貌與價值。本文對照魯迅與五四文學以來「故事新編」體的小說發生學，並透過文學史料的重新探勘，觀察現代作家對於「四大奇書」的改編情形，嘗試打開過往經典文學史與文化史的多重視點。本文並關注晚清以後的現代作家，如何對古典小說極具代表性的「四大奇書」進行「再書寫」與「再閱讀」，於「通俗性」與「傳統性」之中言說「現代性」，並強調經典原著的符號系統，如何在全球化知識環流中被解構與重構。題中的「後經典」，即用以命名這些「經典」之後，以拆寫、重組古典元素，使文學主題以及文化符號擴散轉化的作品。本文除對個別作家與作品進行微觀研究，探索重寫文本背後的重要形塑因子外，也宏觀式地為「四大奇書」勾勒出四種現代的閱讀軸線：歷史與狂歡、江湖與遺民、神魔與啟蒙、淫婦與烈女。此四種軸線分別是在「故事—新編」之間分屬「傳統—現代」的游移命題，亦為創作者在「三國」、「水滸」、「西遊」、「金瓶梅」的古典故事框架中，以脈絡化或去脈絡化的方式，進而關切歷史、族裔、啟蒙與性別的策略。透過鬆動原有文本的符號內容，轉化至新的情境加以擴寫，在遊戲與油滑之中施加諷喻，這並非是一勞永逸的事業，而是一場永無止境的言說。本文即試圖在學界既有的「明清續書」、「故事新編」等研究基礎上，將時間軸從明清擴大延伸至現當代文學與文化，嘗試勾勒一種「後經典」的敘事學／續事學。 The Romance of the Three Kingdoms三國演義, Water Margin水滸傳, Journey to the West西遊記, and Jin Ping Mei金瓶梅 are acclaimed as the four most outstanding novels in the Ming Dynasty in Chinese literary history. After the four novels were published, they were interpreted by commentators in the Ming and Qing Dynasties, as well as modern and contemporary critics, who believed that their excellence in narrative, structure, characterization and aesthetic construction were unsurpassed by contemporary works, and were classics worthy of the name “Four Master Works四大奇書”. That is to say, the name “Four Master Works” of Chinese classical novels is actually the hindsight of literary history. Before the four novels were canonized, they went through the collective and interactive processes of “story-telling” performances, writing, marketing, reading, commenting, etc., and reflected the characteristics of “generational accumulation” of Chinese novels. Long before each of the four novels became the “final version”, the “story” had been a cultural asset for the community to participate in through constant “speaking” and “reading”. The many existing “sequels續書” of Ming and Qing classical novels preserved the tradition of adaptation and reversal to reflect the “present” renewal of value and social situation faced by the authors and were results of collective actions carried on by generations of writers to create new meanings. During China`s modernization period, the tradition of “storytelling” continued. In the field of modern re-writings of the “Four Master Works”, scholars have always paid more attention to the significance of “enlightenment ” and “salvation of the country” conveyed by the “new novels新小說”in the late Qing Dynasty. Works created after the establishment of the Republic of China has received relatively little research attention. Most of the relevant research focused on the transformation and reinvention of ancient history and legends in the “Old Stories Retold故事新編” style of the May Fourth New Literature initiated by Lu Xun. Nevertheless, after the end of the Qing Dynasty, literati still followed the “Zhang Hui章回” narrative mode of “new novels”, and continued the effort of modern transformation and textual renewal of the classic “Four Master Works” through re-writings. Moreover, thanks to popularization of modern newspapers, movies and other new media, the re-writings were accepted by a broad range of readers and won praises. The authors of these re-writings were mostly of the Mandarin Ducks and Butterflies Literary School鴛鴦蝴蝶派, comedy writers, Manchurian remnants, some were even anonymous. Compared with works by elite writers who set the literature from the May Fourth era as their benchmark, the writings of these marginalized figures in the history of classic literature were often regarded as “impurities” of culture. However, these rewritings and the May Fourth “New Literature” were both responding to the “tradition” in the context of “modernity”, and together reflected the spirit and value of the common people of that era. This dissertation compares the adaptation of the “Four Master Works” by modern authors with novels in Lu Xun’s “Old Stories Retold故事新編” style from the May Fourth era through re-exploring literary historical materials. By doing so, it creates multiple perspectives to understand the classics in literary history and cultural history. This dissertation focuses on how after the Qing Dynasty, modern writers carried out “re-writing” and “re-reading” of the “Four Master Works”, which are representative of classical novels, and how they expressed “modernity” through “secularity” and “tradition”. It emphasizes how the symbolic systems of the original classic works were deconstructed and reconstructed in the globalized knowledge circulation. The phrase “post-canon” in the title refers to works that followed these classics, and at the same time dismantled and reorganized classical elements to spread and transform literary themes and cultural symbols. In addition to micro-level research on individual writers and works, this dissertation explores the important factors which shape the rewritten texts, and also outlines four modes to read these modern interpretations of the “Four Master Works” on the macro-level: history and carnival, wanderers and remnants, enchantment and enlightenment, wanton women and virtuous women. These four interpretative modes oscillate between “story-telling” and “story-retelling”, and shift back and forth between “tradition” and “modern”. These four modes are also the writers’ strategies to focus on history, ethnicity, enlightenment and gender through contextualizing or decontextualizing within the framework of classical stories of the “Four Master Works”. These re-writings disassembled the symbolic content of the original text to expand into new contexts for transformation, and to allegorize with playful bantering and crafting. This way of storytelling is not once and for all, but never-ending. This dissertation attempts to stretch the time axis from the Ming and Qing Dynasties to modern and contemporary literature and culture on the basis of existing academic research on “Sequels of Ming and Qing Dynasties”, “Old Stories Retold”, etc., to outline a narratology of “post-canon” novels.
Description:	博士國立政治大學中國文學系 105151504
Source URI:	http://thesis.lib.nccu.edu.tw/record/#G0105151504
Data Type:	thesis
Appears in Collections:	[Department of Chinese Literature] Theses

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