徐渭与毛宗岗对“祢衡骂曹”故事接受的比较研究  

A Comparative Study of Xu Wei’s and Mao Zonggang’s Acceptance of the Story of“Mi Heng Scolding Cao Cao”

作　　者：杜巧云 蒋小平[1] Du Qiaoyun;Jiang Xiaoping(Art College,Anhui University,Hefei,Anhui 230601,China;Hefei Information Technology University,Hefei,Anhui 230601,China)

机构地区：[1]安徽大学艺术学院,安徽合肥230601 [2]合肥信息技术职业学院,安徽合肥230601

出　　处：《漯河职业技术学院学报》2022年第3期76-79,共4页Journal of Luohe Vocational Technical College

基　　金：教育部哲学社会科学研究重大课题攻关项目(18JZD020)。

摘　　要：“祢衡骂曹”的故事在民间广为流传,诸多文人为此创作文学作品,其中以徐渭《四声猿》中的《狂鼓史渔阳三弄》与毛宗岗修订本《三国演义》中的《祢正平裸衣骂贼,吉太医下毒遭刑》最为出色。毛宗岗在修订罗贯中的《三国志通俗演义》时显然受到了徐渭的影响,留下了相关的戏曲评点。根据德国接受美学学者姚斯的接受理论将徐渭与毛宗岗对“祢衡骂曹”故事的接受与再创作的过程划分为三个阶段,对比二人在理解、阐释和应用过程中的差异,探究接受美学视角下“祢衡骂曹”故事的流传与演变。The story of“Mi Heng scolding Cao Cao”has been widely spread among the people.Many scholars have created literary works based on the theme,among which The History of the Mad Drum by Xu Wei and the One chapter of The Romance of the Three Kingdoms revised by Mao Zonggang are the most outstanding ones.When Mao Zonggang revised Luo Guanzhong’s The Romance of the Three Kingdoms,he was obviously influenced by Xu Wei,leaving the relevant opera comments.By using the theory of reception aesthetics by German receptive aesthetician Jauss,the paper analyzes the process of Xu Wei’s and Mao Zonggang’s acceptance and recreation of the story of“Mi Heng scolding Cao Cao”and compares the differences between the two in their understanding,interpretation and application so as to explore the spread and evolution of the story of“Mi Heng scolding Cao Cao”from the perspective of reception aesthetics.

关 键 词：徐渭 毛宗岗 “祢衡骂曹” 接受美学 

分 类 号：I206[文学—中国文学]