晚明戏仿审美风格论  

The Aesthetics of Parody in The Late Ming Dynasty

作　　者：妥建清[1] Tuo Jianqing(School of Humanities and Social Sciences,Xi'an Jiaotong University)

机构地区：[1]西安交通大学人文与社会科学学院

出　　处：《文艺理论研究》2019年第5期11-21,共11页Theoretical Studies in Literature and Art

基　　金：国家社科基金重点资助项目“百年中国文学传播史的书写问题研究”[项目编号:18AZD032]的阶段性成果~~

摘　　要：晚明文学戏仿审美风格承续中国谐谑文学传统而具有新质。其通过加冕与脱冕的荒诞意义上的低俗的美学模仿方式制造出与原文本不协调的喜剧效果,有节制地嘲弄现实社会的正常,旨在吁求人欲的天理化,赋予身体欲望的合法性。此种戏仿审美风格的兴起与普遍化一方面是由于晚明文学观念渐次以道德教化的名义转向文以娱人的文学观,及晚明文学叙事模式逐渐打破说书人的传统等内在原因,一方面有赖于晚明消费文化日益勃兴以及通俗大众媒体的支持等外在原因。对晚明戏仿审美风格的探寻,不仅为中国审美文化史提供了新颖的个案,而且其从中国本土的戏仿文化实践出发,不断修正和改造着西方的戏仿理论,为重写中国近现代文学史提供了一种新的可能。The late Ming parodic literature manifests itself as an innovated style based on the tradition of Chinese humorous literature. By means of vulgar imitation in the absurd senses of "crowning" and "de-crowning," it creates a comedic effect disagreeing with the original text and actualizes a restrained mockery of the social norm. The aim, however, is to appeal to the rationalization of human desire and the legitimatization of physical lust. The rise of aesthetic parody, on the internal level, stems from late Ming literature’s conceptual shift from morality to entertainment and its narrative departure from traditional storytelling;on the external level, it is related to the emergence of consumer society and that of mass media in the late Ming dynasty. The investigation into late Ming aesthetics of parody, on the one hand, provides an intriguing case for the study of Chinese aesthetic culture;on the other hand, it signifies a reconsideration of the western theory of parody based on the Chinese experience and further begets a possibility of rewriting the history of modern Chinese literature.

关 键 词：戏仿 加冕 脱冕 晚明文学现代性 戏仿审美风格 

分 类 号：I20[文学—中国文学]