离魂文学以《倩女离魂》为代表的第三次发展  

The Fleeing Soul of the Beauty as the Representative of the Third Development of the Fleeing Soul Literature

作　　者：张勇[1] 魏刚[1] 

机构地区：[1]云南师范大学文学院,云南昆明650500

出　　处：《河北广播电视大学学报》2014年第2期51-55,共5页Journal of Hebei Radio & TV University

摘　　要：离魂文学者,其虽兴起于六朝志怪小说,然尚未得以深化之,演至唐代,摄入传奇创作,遂得以可叹为成熟境地,而至元明时期,其体裁已为戏剧,叙述增强,表达方式尽显其妙;其内容已摄入社会思潮,为反讽社会之载体;其文学造作,亦颇具艺术之强势。此时之离魂文学,要以《倩女离魂》为代表,虽固有其缺陷,然其足见离魂文学自魏晋发展以来,至元明以获第三次发展。The fleeing soul literature, rising with the mystery novels in the Six Dynasties period, didn＇t reach the mature state until its intake of legendary soul literature in the Tang Dynasty. In the Yuan and Ming dynasties, however, its genre has been turned into drama, with narrative ability enhanced and wonderful expression. It had already contained the content of the social ideological trend at that time, which was used to satirize the society. It＇s literary creation also showed the charm of literature and art. Although the fleeing soul literature, represented by The Fleeing Soul of the Beauty, had inevitable de fects, it obviously reflected the third development since its emergence from the Wei and Jin dynasties.

关 键 词：离魂文学 元明时期 《倩女离魂》 发展演变 

分 类 号：I207.4[文学—中国文学]