论尹湛纳希作品中婚恋模式的现实基础及其超越  

On the Realistic Basis and Transcendence of Marriage and Love Patterns in Yin Zhannaxi's Works

作　　者：乌凤琴[1] 瞿鹏 WU Fengqin;QU Peng(Chaoyang Teachers College,Chaoyang Liaoning 122000,China)

机构地区：[1]朝阳师范高等专科学校,辽宁朝阳122000

出　　处：《大连民族大学学报》2024年第2期162-168,178,共8页Journal of Dalian Minzu University

基　　金：国家社科基金项目“尹湛纳希作品中满蒙汉藏文化交流思想研究”(20BMZ058)阶段性成果。

摘　　要：清末著名文学家、思想家和史学家尹湛纳希的小说《月鹃》《红云泪》《一层楼》《泣红亭》《青史演义》中的婚恋模式独特,主要表现为“世代联姻”“父母之命媒妁之言”或“指婚”“一男多女”人物结构,注重男女双方感情交流。力求在前人已有研究成果和结论基础上,进一步梳理尹湛纳希各部作品中婚恋模式的承继关系,婚恋模式中各个要素存在的社会根源,并挖掘其中的进步思想。关注和研究这些内容有助于解读尹湛纳希作品,走进尹湛纳希的内心世界,彰显尹湛纳希作品的思想内涵,呈现更加立体化的尹湛纳希形象。In the novels"Moon Cuckoo""Red Cloud Tears""One Floor""Weeping Red Pavilion"and"Romance of the Qing Dynasty"Yin Zhannaxi,a famous writer,thinker,and historian in the late Qing Dynasty,the unique mode of marriage and love is mainly manifested as"intergenerational marriage""matchmaker's words"or"finger marriage""one man and multiple women"character structures,and a fusion of emphasis on emotional communication between men and women.We strive to further sort out the inheritance relationship of marriage and love patterns in Yin Zhannaxi's various works and the social roots of various elements in marriage and love patterns,and explore the progressive ideas in marriage and love patterns based on the existing research results and conclusions of predecessors.Paying attention to and studying these contents helps to interpret the content of Yin Zhannaxi's works,get closer to his inner journey,highlight the profound ideological nature of his works,and create a more three-dimensional image of Yin Zhannaxi.

关 键 词：尹湛纳希作品 婚恋模式 现实基础 超越 

分 类 号：C95[社会学—民族学]