从《水浒后传》看晚明士人及小品文的审美情趣  

The aesthetic taste of scholars and essays in late Ming Dynasty from A Sequel to Water Margin

作　　者：冯托托 罗雁泽 FENG Tuo-tuo;LUO Yan-ze(College of Literature,Fujian Normal University,Fuzhou,350007,China)

机构地区：[1]福建师范大学文学院,福州350007

出　　处：《闽西职业技术学院学报》2020年第4期37-41,共5页Journal of Minxi Vocational and Technical College

摘　　要：作为《水浒传》的续书,《水浒后传》出现了一系列与《水浒传》迥然相异的描写片段,这些片段具有性灵文学的特质,表现出一种雅致、诗化的审美情趣,与《水浒传》中的游民美学大相径庭。《水浒后传》承接了《水浒传》的外部结构,但受晚明士人生活及晚明小品文中广泛存在的审美情趣的影响,整体上呈现风流清雅的生活情趣、精致空灵的文学情趣等美学特征。同时,对李师师形象的塑造,反映晚明社会对娼妓符号的审美转向。As the continuation of Water Margin,A Sequel to Water Margin has a series of description fragments different from Water Margin,which shows an elegant aesthetic taste.From Water Margin to A Sequel to Water Margin,the variation of aesthetic taste is complicated.A Sequel to Water Margin inherited the external structure of Water Margin,but influenced by the life of the scholars in the late Ming Dynasty and the aesthetic taste widely existed in the essay literature of the late Ming Dynasty,the aesthetic features of elegant life and delicate and ethereal literary taste were presented on the whole in A Sequel to Water Margin.At the same time,the image of Li Shishi reflected the aesthetic change of the prostitute symbol in the late Ming Dynasty.

关 键 词：《水浒后传》 晚明 士人 审美情趣 

分 类 号：I207.412[文学—中国文学]