从共时视角看“四大奇书”之互文性——兼谈其对文学史写作的启示  

On the Interactive “Intertextuality” between “Four Masterpieces” ——From the “Synchronic” Perspective and Its Implications for Literary History

作　　者：李桂奎[1] 

机构地区：[1]上海财经大学人文学院,上海200433

出　　处：《学术月刊》2013年第10期110-117,共8页Academic Monthly

基　　金：教育部2012年度"新世纪优秀人才支持计划"资助项目"中国古代小说互文叙事研究"(NCET-12-0905)的阶段性成果

摘　　要：在文本生成与传播过程中,被统称为明代"四大奇书"的《三国志演义》、《水浒传》、《西游记》、《金瓶梅》等四部经典小说长期处于彼此互文状态。对这种彼此互文,以往人们大多从历时态视角纵观其"影响"、"变迁"或"演进"等问题,在注重它们先后传承的同时,无形之中忽略了其共时态的互动性。事实上,"四大奇书"之互文的彼此互动性不仅业已被相关史料所证明,而且在四部经典小说文本中也分别多有呈现。为此,我们应注意兼用"共时"视角横观其"互动"、"互渗"或"反哺"等问题。通过这一研究,我们能够有效地避免以往惯用"变迁"、"影响"等单向思维看问题带来的偏颇和失误,有利于全面把握"四大奇书"之间盘根错节的有机关联,会通全景,从而进一步增强文学史重写的科学性。In the text-generation and dissemination process, the classic Ming Dynasty ＂Four Masterpieces＂ including the four classic novels known as Three Kingdoms, Outlaws of the Marshes, Journey to the West and Golden Lotus have been in a long period ＂intertextuality ＂situation. In the past, about this interactive ＂intertextuality＂, most people throughout impact, change or evolution and other issues from ＂diachronic＂ perspective. Simultaneously, the invisible ignored their ＂synchronic＂ interaction. In fact, the ＂intertextuality＂ between ＂Four Masterpieces＂ not only has to be proved by the relevant historical materials, but also in the four classic novels exist many signs. Therefore, we should pay attention to combined use ＂of tenses＂ horizontal angle view of its ＂interactive＂, ＂infiltration＂ or ＂feed＂ and other issues. On academic sense, this study can effectively avoid the biased thinking and mistakes of previous studies, help to grasp the organic relation between the ＂Four Masterpieces＂ and will further enhance the scientific in rewriting literature history.

关 键 词：“四大奇书” 互文性 历时性 共时性 

分 类 号：I206.3[文学—中国文学]