政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/70019
English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  全文筆數/總筆數 : 113313/144292 (79%)
造訪人次 : 50947619      線上人數 : 1007
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
搜尋範圍 查詢小技巧：
  • 您可在西文檢索詞彙前後加上"雙引號"，以獲取較精準的檢索結果
  • 若欲以作者姓名搜尋，建議至進階搜尋限定作者欄位，可獲得較完整資料
    •  進階搜尋
    政大機構典藏 > 文學院 > 宗教研究所 > 期刊論文 >  Item 140.119/70019


    請使用永久網址來引用或連結此文件: https://nccur.lib.nccu.edu.tw/handle/140.119/70019


    題名: 罪罰與解救：《鏡花緣》的謫仙結構研究
    其他題名: Punishment and Salvation: A Study of the ＂Banished-Immortal＂ Structure in ＂Jing Hua Yuan＂
    作者: 李豐楙
    Lee, Fong-Mao
    貢獻者: 宗教所
    關鍵詞: 《鏡花緣》;罪罰;解救;謫仙;神話
    ＂Jing hua yuan＂;punishment;salvation;banished-immortal;mythology
    日期: 1995.09
    上傳時間: 2014-09-18 13:57:14 (UTC+8)
    摘要: 李汝珍在創作《鏡花緣》時，使用了道教的謫仙神話，不僅產生了類似傳統小說的「楔子」作用，更是整部小說的「結構」。由於百花仙子及百花仙誤犯了「不應時節不能開花」的天條，從仙境被懲罰貶降到人間，這是由天星心月狐降生的武則天所下的詔詩。因此百花仙子所降生的唐小山需要負責團聚流落到外域、十道的諸花仙，而武則天也以恩開女試來團聚百位花仙。在這一神話間架中，前半部的海外歷險、後半部的齊赴長安應試，都成為推動情節發展的主力。等百位仙子齊家宴遊之後，小說就進入「散」的結局。李汝珍有意採用「模式化」的寫法，讓女主人翁經歷磨難而後才能完成聚集流散的仙子的任務，這種情節發展完全是呼應著「謫譴」的神話主題。它是中國長篇小說的主要結構模式，反映了民眾的宿命論式的宇宙觀和人生觀，這是一種民族文化心理，通俗小說對於這種文化心理具有深刻的反映。
    In writing ”Jing Hua Yuan”, Li Ruzhen employs the Taoist banishedimmortal mythology which not only functions as ”prologue” (xiezi) of the traditional fictions, but also manifests the ”structure” of the whole work. The fact that the Baihua goddess and Baihua fairies were banished to the human world from heaven because they violated the heavenly law of ”timely blossoming” is disclosed in the imperial edict from Empress Wu Zetian who herself is the banished immortal Tianxing xinyuehu. As a result, Tang Xiaoshan, the banished Baihua goddess, has to reunite one hundred flower fairies wandering destitute in foreign countries and the ten ways (shidao). In the meantime, Empress Wu Zetian bestows the favor of ”permitting women taking imperial exam” to make one hundred flower fairies reunited. In this mythologial structutre, both the overseas adventures occurring in the first half of the novel and the imperial exam participation in the second half become the motive force to promote the development of plot. After one hundred flower fairies are reunited, the novel reaches the dénouement of ”scattering” (san). Li Ruzhen intentionally adopts a kind of ”modelled” writing technique to let the heroine experience lots of hardships and accomplish the task of reuniting the scattered fairies. The development of plot totally coincides with the mythological theme of ”banishment.” As the main structural mode of Chinese novels, the above ”banished-immortal” stucture reflects the fatalistic cosmic concept and outlook on life of Chinese people. This is a kind of cultural mentality of the nationalities which the vanacular fictions have described profoundly.
    關聯: 中國文哲研究集刊, 7, 107-156
    資料類型: article
    顯示於類別:[宗教研究所] 期刊論文

    文件中的檔案:

    檔案 描述 大小格式瀏覽次數
    107-156.pdf7670KbAdobe PDF2870檢視/開啟


    在政大典藏中所有的資料項目都受到原著作權保護.


    社群 sharing

    著作權政策宣告 Copyright Announcement
    1.本網站之數位內容為國立政治大學所收錄之機構典藏，無償提供學術研究與公眾教育等公益性使用，惟仍請適度，合理使用本網站之內容，以尊重著作權人之權益。商業上之利用，則請先取得著作權人之授權。
    The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.

    2.本網站之製作，已盡力防止侵害著作權人之權益，如仍發現本網站之數位內容有侵害著作權人權益情事者，請權利人通知本網站維護人員(nccur@nccu.edu.tw)，維護人員將立即採取移除該數位著作等補救措施。
    NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.
    DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - 回饋