清代文言小说对《聊斋志异》的“去同质化”写作  

The“De-homogenizing”Writing of Strange Stories from a Chinese Studio in Classical Chinese Fictions during the Qing Dynasty

作　　者：张姣婧 Zhang Jiaojing(Culture and Education Center,Beijing Jiaotong University,Beijing 100091,China)

机构地区：[1]北京交通大学文化教育中心,北京市100091

出　　处：《文艺理论研究》2023年第6期61-70,共10页Theoretical Studies in Literature and Art

基　　金：中央高校基本科研业务费专项资金资助项目“清代小说编创研究”[项目编号:2022RCW016]的阶段性成果。

摘　　要：《聊斋志异》在清代文言小说的发展史上有着巨大的影响力,其后的小说家难免会创作出与《聊斋志异》“同质化”的作品,于此,“去同质化”便成为后来者们革新文本与展现自我艺术追求的重要写作路径。在“去同质化”的过程中,小说家或试图改造润饰作品的细节,或致力于将模糊之处进行化虚为实的明确与弥缝,抑或扭转小说既有的情节走势。如此多样化的“去同质化”写作不仅为清代文言小说的创作注入了新的活力与生机,更在不同程度上实现了对《聊斋志异》的突破与超越。Strange Stories from a Chinese Studio had a great influence on the development of classical Chinese fiction during the Qing dynasty,and some later works would inevitably fell into a pattern of“homogenization”due to its influence.Therefore,“dehomogenization”emerged as an important approach for later generations to innovate on the texts and showcase their artistic pursuits.In the process of“de-homogenization”,novelists either attempted to alter the details of the works,immerse themselves in clarifying and grounding the ambiguity into reality,or reverse the existing plot trends of the fictions.Such diverse“dehomogenizing”writing not only injected new vigor and vitality into the creation of classical Chinese fiction during the Qing dynasty but also achieved varying degrees of breakthrough and transcendence beyond Strange Stories from a Chinese Studio to different degrees.

关 键 词：清代文言小说 蒲松龄 《聊斋志异》 “去同质化”写作 

分 类 号：I207.41[文学—中国文学] K249[历史地理—历史学]