有意味的形式——论徐渭《狂鼓史》的结构特征及其思想意蕴  

‘Significant Form’: On the Structural Characteristics and Connotations of Xu Wei’s The History of Fanatic Drum

作　　者：李亦辉[1] LI Yihui(School of Chinese Language & Literature,Heilongjiang University,Harbin,Heilongjiang 150080)

机构地区：[1]黑龙江大学文学院

出　　处：《绍兴文理学院学报》2019年第5期13-20,共8页Journal of Shaoxing University

基　　金：黑龙江省哲学社会科学研究规划项目“明清传奇曲辞审美观念嬗变研究”(17ZWB114);黑龙江大学杰出青年科学基金项目“王骥德与晚明戏曲文学思想研究”(JC2018W2)

摘　　要：徐渭的《狂鼓史》非但思想奇,而且结构奇,尤奇之处是其结构形式与思想意蕴水乳交融,结构本身即是“有意味的形式”。该剧的阴间布局、戏中演戏与插入俗曲这三个形式要素,由外而内地形成一个三环相套的同心圆结构。借鉴南戏副末角色而设的判官察幽一角,起到内外勾连、疏通血脉的作用。三层中的每一层都具有自己的功能,并与其他层相映成趣、互为阐发,外层的果报与包容、中间层的批判与控诉、内层的宿命与色空,共同构成该剧的“复调”特征。Xu Wei’s The History of Fanatic Drum is characterized by original thoughts and a novel structure,together with the blending of structural characteristics and connotations in particular,hence‘a significant form’.The three structural elements of the drama,namely,the layout of the underworld,the performance in the drama and the insertion of folk songs,form a concentric circle structure with three rings from the external to the internal.Learning from the role of fu-mo(expositor)in Nanxi opera,Cha You plays the role of connecting the inside with the outside.Each of the three layers with their own functions is related to one another.The retribution and tolerance in the outer layer,the criticism and accusation in the middle layer,and the fatalism and nihilism in the inner layer constitute the polyphonic characteristics of the drama.

关 键 词：徐渭 《狂鼓史》 祢衡 有意味的形式 

分 类 号：I053[文学—文学理论] I207.37