《醒世姻缘传》中戏曲叙事意义探析  

On the Roles of Dramatic Narration of the Novel of Xingshi Yinyuan Zhuan

作　　者：崔赛云 王昊[1] CUI Sai-yun;WANG Hao(School of Liberal Arts,Anhui Normal University,Wuhu Anhui 241000,China)

机构地区：[1]安徽师范大学文学院,安徽芜湖241000

出　　处：《铜陵学院学报》2023年第3期80-83,87,共5页Journal of Tongling University

基　　金：教育部人文社会科学研究项目“明清通俗小说‘以戏入稗’现象研究”(22YJA751019)。

摘　　要：《醒世姻缘传》中出现的戏曲元素与小说本身息息相关,形成多元化的戏曲叙事。作者以大众熟知的戏曲故事来预示小说的情节走向,拉近了与读者之间的距离,形成读者期待感。同时,作者还将戏曲人物与小说人物进行类比,既有利于人物形象的塑造,又营造出诙谐幽默的喜剧性氛围,令读者产生愉悦之感。这些戏曲元素融入小说创作中,承担着独特的叙事功能,使小说文本与戏曲文本密不可分。The opera elements in the novel are closely related to the novel itself,forming a diversified opera narrative.The author predicts the plot trend of the novel with the well-known opera stories,which narges the distance between the author and the readers and forms their expectation.At the same time,the author also makes an analogy between the characters in the opera and the characters in the novel,which is not only conducive to the shaping of the characters,but also creates a humorous comic atmosphere,which makes the readers happy.These opera elements are integrated into the novel creation,and assume the unique narrative function,which makes the novel text and the opera text inseparable.

关 键 词：谐趣性 戏曲元素 叙事功能 《醒世姻缘传》 

分 类 号：I207.37[文学—中国文学]