“三言二拍”中的节妇形象探析  

An Analysis on the Images of Chaste Women in Sanyan and Erpai

作　　者：许佳慧 邱阳 XU Jiahui;QIU Yang(College of Liberal Arts,Changchun Normal University,Changchun 130032,China)

机构地区：[1]长春师范大学文学院,吉林长春130032

出　　处：《长春师范大学学报》2024年第7期95-100,共6页Journal of Changchun Normal University

基　　金：长春师范大学2024年研究生创新项目“‘三言二拍’节妇形象研究”。

摘　　要：明代妇女守节已成为社会常态,文学作品中的节妇数量比前代显著增加。“三言二拍”中专写节妇的篇目众多,节妇形象更加丰富饱满。本文通过对“三言二拍”中节妇形象的整理与分类,分析各类形象的特点。关于节妇形象的类型,根据其婚姻状况,大致分为已婚守节女性和未婚守节女性;根据守节原因,可将其分为为情守节女性和为理守节女性。从数量上看,为理守节的女性多于为情守节的女性。In the Ming Dynasty,it has been a normal phenomenon that a woman preserved chastity after the death of her husband,and the number of chaste women in literary works increased significantly.In Sanyan and Erpai,there are many stories about chaste women,and their images are more vivid.In this paper,by sorting and classifying the images of chaste women,the author analyzes the characteristics of chaste women depicted in Sanyan and Erpai.According to their marital status,chaste women can be roughly divided into two types:married and unmarried.And they can also be divided into women who remain chastity for love and for good reputation.In terms of quantity,the latter is larger than the former.

关 键 词：“三言二拍” 节妇形象 守节 

分 类 号：I206.2[文学—中国文学]