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| 題 名 | 中國通俗小說理論中的短篇意識=The Consciousness of Short Story in Chinese Vernacular Story Theories |
|---|---|
| 作 者 | 徐志平; | 書刊名 | 嘉大中文學報 |
| 卷 期 | 4 2010.09[民99.09] |
| 頁 次 | 頁33-53 |
| 分類號 | 823.67 |
| 關鍵詞 | 短篇小說; 話本小說; 通俗小說理論; Short story; Chinese colloquial short story; Vernacular story theory; |
| 語 文 | 中文(Chinese) |
| 中文摘要 | 短篇小說應是一種獨立的文體,而不是「寫不長的長篇小說。」然而以話本小說為代表的中國通俗短篇小說,似乎並沒有建立起文體的獨立地位。在明清時期的通俗小說理論中,很少見到在藝術技巧上、作品價值上、風格特色上,提出異於長篇章回小說的言論。本文全面爬梳明末清初話本小說序跋評點,以觀察當時的短篇小說作者或評點者是否具有短篇意識,或具有何等的短篇小說意識,並論其原因。由研究結果可知,明清時期的小說理論繼承了宋代說書中「小說」這一家的觀念,強調短篇話本故事時間(一朝一代)及敘事內容(一人一事)的單一性,並明白點出短篇話本取材的新聞性、常民性(閭巷新事、耳目見聞)。如果從近代短篇小說的定義來考察,則明清話本小說雖未能嚴格符合單一「橫截面」的要求,但合於幾個橫截面連結,或由簡單線索構成縱剖面的寫法。少數評點者因此留意到短篇故事的寓意性、代表性,能夠意識到短篇小說「以小見大」的作用。然而,關於短篇小說創作手法或藝術特色方面的論述,顯有不足。其可能原因在於,話本小說的敘跋評點具有理論價值者本來就不多,而能夠真正認識到短篇創作之特殊性的作家及評點者也只在少數。總體而國言,中國通俗小說理論中的短篇意識雖有而不全,只能說是局部的、片面的。 |
| 英文摘要 | Short stories should be an independent genre, not a short version of long stories. However, Chinese colloquial short stories, being the representative of Chinese Vernacular short stories, were not established to become a unique genre. Little is mentioned in the Chinese Vernacular Story Theories in Ming Dynasty and Qing Dynasty that there are any differences between Vernacular Story and Zhang-hui Xiao Shuo intechnique, in value and in style. The author of this article selects and discusses the prefaces and postscripts as well as the comments of Chinese Colloquial Short Stories in order to investigate whether the author or commentator had the consciousness of Short Story or not.The Chinese Vernacular Story Theories in Ming Dynasty and Qing Dynasty follow the concepts of Xiao Shuo of Song Dynasty. They emphasize the simplicity of timing and contents as well as novelty and popularization.However, the statements about the techniques and styles of Short Stories are somewhat insufficient. Generally speaking, the consciousness of Short Story in Chinese Vernacular Story Theories is partial and inadequate. |
本系統中英文摘要資訊取自各篇刊載內容。