頁籤選單縮合
題 名 | 談「聊齋志異」中三篇花妖作品=A Comparative Study on the Three Stories of Flower Spirits in Liao-Chai-Chih-I |
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作 者 | 羅紐金; | 書刊名 | 人文學報 |
卷 期 | 20 1996.07[民85.07] |
頁 次 | 頁117-129 |
分類號 | 823.327 |
關鍵詞 | 蒲松齡; 聊齋志異; 花妖; 葛巾; 黃英; 香玉; Pu-sung-ling; Liao-chai-chih-i; Female flower spirit; Gee-jin; Shiang-yuh; Hwang-ing; |
語 文 | 中文(Chinese) |
中文摘要 | 蒲松齡的<聊齋誌異>中有三篇一系列同母題的花妖愛情故事,人物形象極易雷同,作者卻寫得篇篇有獨到之處。本文即分別從情節結構、花妖人性物性、愛情表達各自的特色、及作品所傳達的主題意識等四方面去瞭解作者在情節內容方面的匠心獨運,創作技巧的妙用,以及作為異類的花妖又是具備怎樣的人性人情和物種特性。此外,在愛情表達方面,四位卓然不群的婦女各有獨到之處,一冷一熱,一柔順一剛烈,與這些花所給予人的感官形象頗為吻合,甚是有趣。另外,最重要的是透過肯定性癡和情愛補償二方面的內容分析,我們清楚看到作品所傳達的主體意識-作者的自我肯定,自我慰藉;這是一種時代性的文化心理現象。 |
英文摘要 | There were three love stories of female flower spirits in Liao-Chai-Chih-I, however, the author gave a distinctive figure to each one of them three. By reexamining (1) the plot structure of each story, (2) the two natures of the female flower spirits, (3) the flower spirits' respective ways of expressing love and (4) the main theme conveyed in all the three stories, this article is going to explore the author's unique and unexampled method of plot setting. What this kind of strange being, female flower spirit, possessed as her two natures is also discussed. Besides, each of the four leading actresses had her own way of expressing love. The above qualities were quite compatible with the external physical appearance of the four. Most importantly, the main theme lying in the three stories was thus the author's self acceptance along with his self-comfort. Conversely, they remain one present cultural psychological particularity. |
本系統中英文摘要資訊取自各篇刊載內容。