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題名 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作者 黃璿璋
Huang, Hsuan-Chang貢獻者 鄭文惠
Cheng, Wen-huei
黃璿璋
Huang, Hsuan-Chang關鍵詞 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日期 2022 摘要 《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.描述 博士
國立政治大學
中國文學系
105151504資料來源 http://thesis.lib.nccu.edu.tw/record/#G0105151504 資料類型 thesis dc.contributor.advisor 鄭文惠 zh_TW dc.contributor.advisor Cheng, Wen-huei en_US dc.contributor.author (Authors) 黃璿璋 zh_TW dc.contributor.author (Authors) Huang, Hsuan-Chang en_US dc.creator (作者) 黃璿璋 zh_TW dc.creator (作者) Huang, Hsuan-Chang en_US dc.date (日期) 2022 en_US dc.identifier (Other Identifiers) G0105151504 en_US dc.description (描述) 博士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 中國文學系 zh_TW dc.description (描述) 105151504 zh_TW dc.description.abstract (摘要) 《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。 zh_TW dc.description.abstract (摘要) 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. en_US dc.description.tableofcontents 第壹章 緒論 星叢蹤跡 ——「現代文學」的另一面 11 一、天才夢魘——從張愛玲的〈摩登紅樓夢〉談起 11 二、說「故」事的人：「改寫」現象與研究回顧 17 （一）濫觴：兩部《新石頭記》 18 （二）「擬舊」與「翻新」：1909年（以前）經典改寫的狂歡熱潮 22 （三）「故」事「新」編：魯迅以來五四新文學的經典改寫 25 （四）「油滑」與「遊戲」的小說發生學 29 三、問題緣起：民國時期對「四大奇書」的「再閱讀」與「再書寫」 36 四、從「經典」到「後經典」：釋名與定義 43 （一）改寫（REWRITING） 44 （二）後經典（POST-CANON） 48 五、論述策略、章節結構與開展 53 第貳章 形塑經典： 近現代「四大奇書」概念的傳播 61 一、前言 61 二、文學史溯源：知識環流視野中的「四大奇書」概念 66 三、森槐南與作為學科概念的「四大奇書」 70 四、從文學史「知識」到「常識」：「四大奇書」概念的形塑 78 （一）眼目更新：西方「小說」觀的介入 81 （二）範式轉移：現代價值的探掘 84 1. 有沒有主義 85 2. 鑒照歷史 88 五、結語 94 第參章 歷史與狂歡： 民國時期「三國故事」改寫的遊戲形式及其大眾性 97 一、前言 97 二、「新小說」與「遊戲文」——從「陸士諤戲撰」《新三國》談起 103 三、因果與進化：雄辯士《三國還魂記》的遊戲與啟蒙 108 四、「說三國」與「三國戲」：民國時期娛樂情境中的「三國」故事 117 五、亂世與民國：滑稽小說「新三國」系列中的社會鏡像 122 六、結語 129 第肆章 江湖與遺民： 旗族報人冷佛《續水滸傳》中「忠義兩不全」的民國世界 133 一、前言：「閱者注意《續水滸傳》」 133 二、水滸與民國：二十世紀之梁山泊者何？滿州之馬賊是也 140 三、「花石綱」與「九天玄女廟」：《續水滸傳》十罪宋江 151 （一）從「生辰綱」到「花石綱」 153 （二）從「替天行道」到「九天玄女廟」 155 四、拯救與解脫——重詮「寂天寞地」之終局 159 五、結語 165 第伍章 神魔與啟蒙： 清末民初《新西遊記》續衍中的「祛魅」與「復魅」 169 一、釋題：神魔與啟蒙 169 二、寓祛人迷信之意——晚清陳景韓《新西遊記》的「祛魅」書寫 174 三、再續下其續處——包天笑《新西遊記》成書線索與民國風景 184 四、遊戲三昧：包天笑《新西遊記》的「復魅」與「勸善懲惡」敘事 191 五、結語 198 第陸章 淫婦與烈女： 民國《金瓶梅》的接受與「潘金蓮」的形象轉型 201 一、前言——從轉型視閾下的經典小說談起 201 二、從「禁書」到「經典」：清末民初「公共輿論」中的《金瓶梅》 205 三、從「淫」到「愛」：歐陽予倩《潘金蓮》的劇作改編 211 四、從「淫婦」到「烈女」：三〇年代「潘金蓮」形象的轉化 218 五、從「身體」到「國體」：四〇年代以後「潘金蓮」形象的接受 224 六、結語 229 第柒章 敘續： 朝向一種「後經典敘／續事學」 231 一、故事從未結束 231 二、遺民與移民 239 三、細節與邊緣 248 四、釋悟與識物 259 五、同一與破碎 269 六、結語：「如何改寫」或「必須改寫」 278 第捌章 結論 運動中的後經典 281 參考書目 291 zh_TW dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0105151504 en_US dc.subject (關鍵詞) 四大奇書 zh_TW dc.subject (關鍵詞) 現代文學與文化 zh_TW dc.subject (關鍵詞) 故事新編 zh_TW dc.subject (關鍵詞) 續書 zh_TW dc.subject (關鍵詞) 後經典 zh_TW dc.subject (關鍵詞) Four Master Works en_US dc.subject (關鍵詞) Modern literature and culture en_US dc.subject (關鍵詞) Old stories retold en_US dc.subject (關鍵詞) Sequels en_US dc.subject (關鍵詞) Post-canon en_US dc.title (題名) 後經典時代：現代視閾中的「四大奇書」及其改寫 zh_TW dc.title (題名) The Post-Canon Age: Rewritings of The Four Master Works in Modern Perspectives en_US dc.type (資料類型) thesis -
