明代讲史小说叙事操作的过渡与自觉  

Transition and Consciousness of the Narration of Historial Novels in the Ming Dynasty

作　　者：苏焘[1] 

机构地区：[1]绵阳师范学院新闻与传媒学院,四川绵阳621000

出　　处：《南都学坛（南阳师范学院人文社会科学学报）》2009年第1期51-53,共3页Academic Forum of Nandu:Journal of the Humanities and Social Sciences of Nanyang Normal University

摘　　要：《三国演义》的畅销和嘉靖本序言"庶几乎史"的理论导向,以及嘉靖万历时期书商的运作,使抄袭拼凑的创作方式成为讲史小说的主流,并由此在理论和写作两方面陷入自相矛盾的两难境地。与此同时,这种对素材的人为分割和组合,以及其引发的理论纷争,又在客观上使讲史小说进入到对"虚"、"实"关系认识的自觉阶段。因而,在叙事操作层面形成了明代历史题材特殊的"过渡创作"期。而此时期功利化的创作和虚构情节的粗糙与简化,亦从反方向推动了虚构观念的理性趋向。Due to the best-seUing of The Romance of the Three Kingdoms, the theoretical orientation of＂almost to be history＂ in the preface of Emperor Jiajing＇ s version, and the booksellers＇ operation during the period of Emperor Jiajing and Emperor Wanli, the creative mode of plagiarizing and piecing became the mainstream of historical novels, which led to the serf-contradictory dilemma in the both aspects of theory and creation. At the same time, the man-made segmentation and combination of the historical materials and the theoretical debate caused by it made the historical novels objectively step into the conscious stage of recognizing the relationship between fiction and reality, as a result of which the transition stage of creating historical novels in the Ming Dynasty came into being in the aspect of narration. On the contrary, the utility of creation and the roughness and simplicity of fiction plots in this period drove the rational tendency of fiction concept.

关 键 词：讲史小说 叙事操作 过渡 自觉 

分 类 号：I207.41[文学—中国文学]