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|Title:||论古代小说中的“大团圆”结局 ：以《聊斋志异》为例 = “Happy endings” in traditional Chinese fiction : a case study of strange stories from a Chinese studio||Authors:||黄蕙玟 g, Hui Wen||Keywords:||DRNTU::Humanities||Issue Date:||2018||Abstract:||“大团圆”结局作为一种常见的戏曲结局模式，屡遭后代学者的诟病。即使如此，“大团圆”结局却能够在中国文学中持续相传，流传至今，甚至一再地出现，这的确能够堪称一个“奇迹”。在此论文中，笔者主要探讨古代小说中的“大团圆”结局，并以《聊斋志异》为例进行论述。首章中，笔者以古代文学为基础，提出自身对“大团圆”结局的解读，并给予“大团圆”结局一个定义。其次，相较于学术界中认为“大团圆”结局具有消解悲剧意识的见解，笔者则以相反的角度去诠释《聊斋志异》中的“大团圆”结局，通过三个个案为例论述“大团圆”结局不仅无法消解悲剧意识，对于文本的深刻内涵反而是有所深化的趋势。最后，笔者在第三章中就审美特质的角度剖析及发掘“大团圆”结局在古代及现今的价值所在。 Being a common ending pattern in Chinese classical drama, “Happy Endings” are often criticized by the scholars. Yet, “Happy Endings” have been miraculously handed down for generations in Chinese Literature. Therefore, the author will study on “Happy Endings” in traditional Chinese fiction and using Strange Stories from a Chinese Studio as a case study. In the first chapter, this paper will first discuss the definition of “Happy Endings” that based on the context of Chinese traditional literature. Secondly, this paper will look through three case studies in Strange Stories from a Chinese Studio. Using these case studies, the author will argue the “Happy Endings” are not only fails to mitigate the tragic consciousness, but also tends to deepen the profound connotation of the story. Lastly, this paper will analyse the value of “Happy Endings” in past and present from using the aesthetic characteristics.||URI:||http://hdl.handle.net/10356/73402||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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