论十七年时期戏曲“白蛇传”的三大原型  

A Brief Analysis of the Three Prototypes of “The Tale of the White Serpent” During the Seventeen years

作　　者：陈婷婷 CHEN Tingting(School of Literature,Northwest University,Xi’an Shaanxi 710127,China)

机构地区：[1]西北大学文学院,陕西西安710127

出　　处：《四川职业技术学院学报》2023年第1期110-119,共10页Journal of Sichuan Vocational and Technical College

基　　金：国家社科一般项目“人民戏剧中的传统文化资源研究(1942~1966)”(21BZW157)。

摘　　要：以“白蛇故事”为题材的经典戏曲在特殊的十七年时期,改编者以顺应传统创作方式和民间审美心理为切入点,突显其“反封建反压迫”的主题,对情节予以一定的改写。然而,在整理与修改的过程中,改编者极力荡清白娘子身上所具有的妖魅色彩,为其塑造“情”的正当立场以抵抗法海,使得白蛇故事中所蕴含的三大原型特征,即人妖恋、才子佳人、降妖除魔,均在文本中有着不同程度上的承继与消亡,陷入了审美价值坠落的困境。People adapting plots of the classic opera with the theme of “White Serpent Story” during the special 17 years can follow the traditional way of creation,consider folk aesthetic psychology and highlight its anti-feudalism and anti-oppression themes.However,when they arrange and modify related plots,they tried to remove the devil incarnation of the White Lady and praised her legitimate position of“Love” in fighting against Fahai.Therefore,the archetypal features contained in the White Snake story,i.e.love between people and freaks,gifted scholars and beautiful ladies,conquering evil-doers and killing monsters,are all inherited and vanished in the text to some degrees,making them fall into the dilemma of aesthetic value declining.

关 键 词：白蛇故事 反封建反压迫 立场 原型 审美价值 

分 类 号：I207.3[文学—中国文学]