《三国演义》曹操形象在朝鲜、日本文学作品中的转变——以盘索里《赤壁歌》和吉川英治《三国志》为例  

Change of the Image of Cao Cao in North Korean and Japanese Literary Works: Illustrated by the Examples of Pansori Rea Cliff Song and Yoshikawa Eiji's Sangokushi Senki

作　　者：郑栋辉[1] 王彦琳[1] 

机构地区：[1]武汉大学文学院,湖北武汉430072

出　　处：《湖北文理学院学报》2017年第7期10-13,共4页Journal of Hubei University of Arts and Science

摘　　要：《三国演义》中的曹操在中国一直以"奸雄"形象为人熟知,历史上的曹操和异域文学中的曹操形象却与之不尽相同。朝鲜盘索里唱本《赤壁歌》中的曹操更似"跳梁小丑",卑劣的一面展现得更加突出;而日本人吉川英治笔下《三国志》中的曹操走向了另一个极端,成为了极富诗性、文武双全的英雄。曹操这一形象在三国文学作品中的差异与作家创造、社会背景和民族审美意识等有关。In China, Cao Cao in The Romance of the Three Kingdoms is known as a machiavellian, but Cao Cao is very different in the real history and exotic literature. Cao Cao ’s image in Pansori Rea Cliff Song seems like a clown, showing more meanness. However, Cao Cao becomes a romantic hero who is excellent both in the arts of pen and sword in Yoshikawa Eiji ’ s Sangokushi Senki. These differences result from writers’ creativity, social background, national esthetic consciousness, and so on.

关 键 词：《三国演义》 曹操 盘索里 《赤壁歌》 吉川英治 《三国志》 

分 类 号：I207.41[文学—中国文学]