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|Title:||论“人变驴”母题之嬗变 ：以唐传奇《板桥三娘子》为探讨中心 = Evolution of “Human to Donkey” deformation motif : Focus on Tang Dynasty Tale “The Proprietress at Wooden Bridge”||Authors:||戴倩倩 Dai, Qianqian||Keywords:||DRNTU::Humanities||Issue Date:||2018||Abstract:||唐朝丝绸之路繁荣了中外商业贸易的互联互通，也使得不同文化交相辉映。尤其是阿拉伯文学的传播，深刻的影响着当时，乃至后世的中国文学创作。本文通过梳理中西方“人变驴（骡）”母题的脉络，论证唐传奇《板桥三娘子》是模仿阿拉伯文学《一千零一夜》之《白第鲁·巴西睦太子和赵赫兰公主的故事》的本土化编写,解析清代《聊斋志异》的《造畜》与《板桥三娘子》是对同一母题的不同发挥,从小说结构、叙事方式及传奇色彩这三方面细读《板桥三娘子》，指出其故事的传奇和教化色彩甚浓，不失为一篇佳作。本文以《板桥三娘子》为参照，从文学角度和人性角度比较分析了与《白第鲁》、《造畜》的异同,揭示出人性“贪欲”所引发的读者思考, 探讨了中国传统文化中人与动物的属性及“驴子”文化意象多倾向于“骑驴诗人”和“黔驴技穷”的思想，使得后世对这一母题没有过多的发挥。此外,“人变驴”作为“惩戒”的主题局限于佛教的因果关系中而无法发扬光大。The Silk Road during the Tang Dynasty gave rise to a flourishing trade exchange between Eastern and Western culture. Through an overview of the history of “Human to Donkey (Mule)” deformation motif in Mediaeval Arab and Ancient China, this paper aims to verify that the Tang Dynasty tale “The Proprietress at Wooden Bridge” is a simulation and localization of the Persian Folktale “Julnar the Sea-Born and her Son King BadrBasim of Persia” from the legendary book “The Arabian Nights: One Thousand and One Nights”. An article from “Strange Stories from a Chinese Studio”, named “Making Animals” from the Qing Dynasty provides another possibility in writing for the theme of Metamorphosis Motif. Furthermore, a close reading on the article of “The Proprietress at Wooden Bridge”, which includes the formation of opening, development of storyline, twists of plot and conclusion, as an attempt to unravel the uniqueness of “The Proprietress at Wooden Bridge”. In addition, insightful analysis of “The Proprietress at Wooden Bridge” with “ Julnar the Sea-Born and her Son King BadrBasim of Persia ” and “Making Animals” is done to find out its reflection on the different culture, for instance, the mainstream social values evolving around the theme of “Greed in humanity” during the Tang Dynasty and Medieval Arab. Lastly, the thesis uncovers the impact of folk culture on its ancient aesthetic outlook, and thereby concluding with why the “human to donkey (mule)” deformation was not well-received, for instance, it was limited to Buddhist karmic concepts in the Classic Chinese Literary World.||URI:||http://hdl.handle.net/10356/73397||Rights:||Nanyang Technological University||Fulltext Permission:||restricted||Fulltext Availability:||With Fulltext|
|Appears in Collections:||HSS Student Reports (FYP/IA/PA/PI)|
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