明清两汉演义系列中的帝王形象研究

发布时间：2018-03-10 19:27

  本文选题：两汉演义　切入点：史书　出处：《南京师范大学》2016年硕士论文　论文类型：学位论文

【摘要】：两汉演义系列是中国庞大历史演义体系中的重要分支,包括熊钟谷、余绍鱼《全汉志传》、黄化宇校正《两汉开国中兴传志》、元素刊本《全汉志传》、谢诏《东汉十二帝通俗演义》、甄伟《西汉通俗演义》和清远道人《东汉演义评》六部小说。本文以其中的帝王形象作为研究对象,分析探讨两汉演义系列中帝王形象的发展演变及其成因。第一章主要对两汉系列演义中的帝王形象进行分类,并总结不同类型帝王形象的表现特征以及塑造手法。明君形象的特征有：相貌不凡,百灵相助；求贤若渴,礼贤下士；宽厚仁爱,深得人心。在塑造手法上采用对比衬托和正反结合的手法,突出明君形象。昏君形象的特征有：灾异多发,盗贼屡起；大权旁落,任用奸臣；优柔寡断,庸聩懦弱。在塑造手法上以叙述为主,议论为辅,负面形象独揽全局。第二章主要探讨两汉演义系列帝王形象的文本演变史,重点分析汉高祖和光武帝的形象演变历程,概括来说,主要围绕汉高祖形象如何一步步从单薄走向丰富,光武帝形象怎样从最初充满传奇色彩到回归本真等问题展开讨论。第三章主要对比帝王形象在史书与演义小说中的异同点。两汉系列演义中帝王形象与史书比较主要从虚实问题和对帝王的价值评判两方面展开。小说在帝王形象艺术方面与史书的比较主要从叙事艺术和人物心理刻画两方面展开。第四章主要对比《两汉演义》和《隋唐演义》中帝王形象在表现特征、艺术手法和审美价值上的比较。在表现特征方面其差异性主要体现在帝王人际关系网与生活场景的差异,圆形人物与扁平人物差异两个方面。艺术手法的差别主要表现在现实境遇与非现实境遇的不同设置,以不同类型的诗文来塑造人物两个方面。审美价值的差异性主要表现在帝王形象对主题表达和叙事的不同作用两方面。
[Abstract]:The Romance Series of the Han Dynasty is an important branch of China's vast historical Romance system, including Xiong Zhong Valley. Yu Shao-yu "Biography of the whole Han Dynasty", Huang Huayu's Correction "Biography of the Founding State of the Han Dynasty", "Biography of the whole Han Dynasty", Xie Zhao "the popular Romance of the 12 Emperor of the Eastern Han Dynasty", Zhen Wei "the popular Romance of the Western Han Dynasty" and "Qingyuan Taoist" < the Review of the Romance of the Eastern Han Dynasty "6. This paper takes the image of emperors as the object of study. The first chapter mainly classifies the image of emperors in the series of Han Dynasty. And summarizes the different types of emperor image performance characteristics and molding techniques. The characteristics of the image of the emperor are: the appearance of extraordinary, Bailing to help; ask for wisdom, virtuous Corporal; generous benevolence, Popular support. In shaping the means of contrast and the combination of positive and negative techniques, highlight the image of the emperor. The characteristics of the image of a faint monarch are: disasters, robberies repeatedly rise, power bypass, appointment of officials, indecisive, indecisive, The second chapter mainly discusses the evolution history of the imperial images of Han Dynasty series, focusing on the evolution process of the image of Emperor Gaozu and Emperor Guangwu of the Han Dynasty, with emphasis on the evolution process of the image of Emperor Gaozu and Emperor Guangwu in the Han Dynasty, the second chapter mainly discusses the history of the evolution of imperial images in the series of Han Dynasty and Han Dynasty. To sum up, it mainly revolves around how the image of Han Gaozu moves from thin to rich step by step. How to discuss the image of Emperor Guangwu from the original legend to return to the true. Chapter three mainly compares the similarities and differences between the image of emperors in historical books and the novels of romance. Comparison of the Image of emperors and Historical Books in the Romance of Han Dynasty. The comparison between novels and historical books is mainly from the aspects of narrative art and psychological portrayal of characters. Chapter 4th mainly compares the performance of Han Dynasty with that of the Han Dynasty. The image of emperors in Sui and Tang dynasties is characteristic. The differences in artistic techniques and aesthetic values are mainly reflected in the differences between emperors' interpersonal networks and life scenes. The differences between round characters and flat characters are mainly reflected in the different settings of realistic and non-realistic circumstances. The difference of aesthetic value mainly lies in the different functions of emperor image on theme expression and narrative.
【学位授予单位】：南京师范大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：I207.41
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本文编号：1594740