【作者】 周琼；

【导师】 万文斌；

【作者基本信息】 南昌大学 ， 文艺学， 2014， 硕士

【摘要】 本文以明清时期的“临川四梦”为研究对象，通过读者接受、批评接受、创作接受三个方面来考察它在明清时期的接受状况。在进行分析时，“临川四梦”既是一个整体，又是四个独立的个体，本文不仅对“四梦”的接受状况进行了分析比较，还试图通过对这一接受现象的分析来发掘其主要特点以及形成原因。文章大体是从以下五个部分来进行论述的：第一章，明清时期“临川四梦”接受的主要形式。本章将从总体上论述对“临川四梦”进行接受研究的视角——读者接受、批评接受、创作接受，并简要阐述此类分析的研究意义和价值。第二章、第三章、第四章主要是对第一章所阐述的接受视角进行具体的现象分析。第二章，“临川四梦”的读者接受。本章以“临川四梦”中各剧本为研究对象，逐个考察其本文、改编本以及选本的接受情况，从分析史实入手，为后文进行问题分析和问题总结奠定基础。第三章，“临川四梦”的批评接受。本章着重从留存的有关“临川四梦”的重要评点本、序、跋等内容来分析比较“临川四梦”的接受情况。第四章，明清时期“临川四梦”影响下的传奇剧作。创作接受是接受研究的一个重要方面，本章所论述的创作接受并非是同一个作家的后续创作，而是受其影响下的其他作家的创作，即“临川四梦”影响下的文学创作。因其情形相对复杂，故本章将着重从对其“纪梦形式的传承”和对其“至情主张的追随”两个方面来分析。第五章，“临川四梦”接受的主要特点及成因分析。本章通过对“临川四梦”接受现象的研究，深入分析在其传播接受过程中呈现的特点以及产生这些特点的原因。“临川四梦”作为中国戏曲史上的杰作，通过对其在明清时期的接受现象进行分析和研究，我们不仅可以管中窥豹，看到明清时期戏曲接受的大致状况，还可以从历史中获得启发，为“临川四梦”以及类似于“临川四梦”的优秀戏剧作品在当代更广泛的传播提供参考案例。更多还原

【Abstract】 This article takes Linchuan Simeng(Four Dreams of Linchuan) in the Ming andQing dynasties on as the object of the research, and analyzes its accept conditionthrough the reader acceptance, criticism acceptance, creation acceptance three aspects.In the course of analysis, Linchuan Simeng is not only considered as a whole, but alsoregarded as four independent individuals. This article is not only to analyze the acceptcondition of Linchuan Simeng, but also try to find out the main characteristics and theform reasons during the acceptance course.The article generally discusses from the following five parts:Chapter one, the main form of Linchuan Simeng acceptance in the Ming andQing dynasties.This chapter is going to discuss the acceptance perspectives ofLinchuan Simeng in general——readers acceptance, criticism acceptance, creationacceptance, and state the significance and value of the analysis briefly.From chapter two to chapter four, we will find out the exhaustive statementsbased on the acceptance perspectives discussed in the first chapter.Chapter two, the reader acceptance of Linchuan Simeng. This chapter takes theindividual of Linchuan Simeng on as the object of the research, observes and studiesthe acceptance of its original work, adapted edition and selected edition from one toone. The purpose of those analysis is to lay a foundation for the following proportion.Chapter three, the criticism acceptance of Linchuan Simeng. This chapteremphasizes on the analysis based on some of the reserved commentary editions,prefaces, postscripts and so on, to compare the acceptance of Linchuan Simeng.Chapter four, the creations under the influence of Linchuan Simeng. Creationacceptance is an important aspect of acceptance analysis. What the chapter going todiscuss is not about the same writer’s subsequent creation, but about other writers’creations under the influence of Linchuan Simeng, that is to say, we are going todiscuss the creations under the influence of Linchuan Simeng. For the reason that thesituation is relatively complex, the analysis of this chapter will focus on theinheritance of Tang’s dream form in works and the adherence of Tang’s terriblysensible theory in works. Chapter five, the main characteristic in the course of Linchuan Simengacceptance and the form reasons about it. Through the analysis of the acceptance ofLinchuan Simeng, we are going to probe into the characteristics presented in thecourse of Linchuan Simeng acceptance and the form reasons.Linchuan Simeng is a masterpiece in the history of Chinese opera, through theanalysis, we will know more about the acceptance of Linchuan Simeng, and we canobtain some inspiration from history, which will help us to make Linchuan Simengand other excellent plays spread much more widely in contemporary.更多还原