孤雁·哭嫁·魂归——从民俗文化的视角论历代昭君剧  

Zhaojun Plays in Different Dynasties from the Perspective of Folk Culture

作　　者：翁敏华[1] 

机构地区：[1]上海师范大学谢晋影视艺术学院,上海200234

出　　处：《上海师范大学学报（哲学社会科学版）》2013年第1期98-105,共8页Journal of Shanghai Normal University(Philosophy & Social Sciences Edition)

基　　金：上海市重点学科中国古代文学(S30403);全国重点学科比较文学与世界文学成果

摘　　要：文艺作品中的王昭君,是一个"箭垛式"的世代积累型形象。从民俗文化的视角对其几部剧作进行研究,可发现其首先具有"孤雁"的民俗意象,"昭君出塞"系列剧蕴含有民间"哭嫁"的习俗,《昭君梦》和日本能乐《王昭君》则表现了"魂归"的民间俗信。王昭君戏剧形象之所以让中国乃至东亚人民喜闻乐见,与其蕴藏的浓郁民间风情、民俗文化不无关系。Wang Zhaojun in the literary and artistic works is an image accumulated through several generations like an “ar- row crib”. A study of several Zhaojun plays from the perspective of folk culture finds that ： firstly, Zhaojun reflects the folk image of “wild goose” ; secondly, a series versions of “Zhao Jun Going out of the Frontier” contain the folk custom of “crying mar- riage” ; thirdly, the Dream of Zhaojun and the Japanese Noh play Wang Zhaojun display the folk beliefs of the “return of the soul”. The rich folk customs and folk culture account for the popularity of the image of Wang Zhaojun with Chinese and East Asi- ans.

关 键 词：昭君剧 孤雁 哭嫁 魂归 

分 类 号：I207.3[文学—中国文学]