【作者】 尚继武；

【导师】 陈桂声；

【作者基本信息】 苏州大学 ， 中国古代文学， 2006， 硕士

【摘要】 《聊斋志异》诞生于我国小说批评理论高度发达、各种小说文体形态在叙事艺术上相互借鉴的时期。蒲松龄继承了文言小说优秀的叙述艺术传统并加以创造：在叙事时空方面，灵活运用了追叙、预叙、非对称性错时等多种错时手段，将人世、鬼域、仙界、梦境等空间类型幻化于一体，创造了形态多样的虚幻空间，突破了小说有限的叙事时空限制，在篇幅相对较短、所叙事件相对集中、头绪相对不繁的艺术空间内，提高了文言小说叙事写人的自由度；在叙事修辞方面，使用了语词隐喻、意象隐喻、行动隐喻、空间隐喻等隐喻方法，通过突出矛盾或者叙事信息、运用限知叙事或者截留相关信息、悬置情节或者改变叙事方式等手段制造了引人入胜的悬念，利用人物行动和目标性质的差异、话语交流错位、引发读者对叙事者意图的“误会”、展现人物言行德才与身份的鲜明反差、巧用语词等方式营造了浓郁的反讽氛围，在同一小说文本和不同小说文本之间使用了反复叙事修辞手段，丰富了文言小说的叙事技巧和叙事艺术，实现了叙事曲折、扣人心弦的叙事意图，在一定程度上深化了小说的内涵；在人物群体描摹方面，人物中心移向了生活在山野乡村的农夫村妇、贫寒书生、贫家女子，完成了古代小说第三次人物中心转移，小说中的知识分子一改传统的文士人格，向关心自我、重贫富之辨、趋财就利的世俗人格趋近，而小说中的女子则在爱情观念、生活方式、群体人格等方面表现出了与众不同的新变，在文本语言方面，小说成功地做到了以文言形式写普通民众、民风世情，标记着文言小说由“雅”向“俗”的靠拢和融会。总之，《聊斋志异》扭转了宋代以来文言小说叙事艺术水平下滑的趋势，直追并超越了唐代传奇，反映了蒲松龄在文言小说叙事艺术上进行的探索、付出的努力和取得的成就。更多还原

【Abstract】 Strange Stories from a Scholar’s Studio took place in the period of the highly-advanced critical theory and the various stylistic forms of novels referring to each other in the art of narration. Pu-Songling inherited the excellent tradition of the art in classical Chinese novels and innovated it. In the time-space of the narration, he uses the cross-time means of flashback, pre-relation and unparalleled intercrossness skillfully, miraculously transforms the worlds of soul, ghost, fairy and dream into the whole, creating the various imaginary spaces and breaking through the bond of the limited time-space of narration. In the artistic space of the length being relatively short, events relatively centralized and main thread not very complex, he extends the freedom of classical Chinese novel narration. In the rhetorical devices he uses the metaphors of words, image, behavior and space. By extruding the contradiction or narrative information, he also uses restricted narration or intercepts related information, suspended plots or even changes the ways of narration to create the beckoning suspense, he gives a rise to the misunderstanding of narrator’s intention by the use of the difference in man’s behavior and goal, and the intercrossness of communication. He unfolds the contrast in man’s behavior and identity, use of words to build the rich ironic atmosphere. He uses the figure if repetition in texts of the same novel and different one to enrich the narrative skills so as to realize the cliff-hanging narrative intention and deepen the connotation to a certain extent. In the depiction of characters, the center shifts to the farmers and wives living in mountain villages, poor scholars and women in poor families realizing the third shift of character center in ancient novels. Intellectuals in the novels changed from the traditional bookman personality to the worldly tendency of self-caring, showing concern for the difference of the poor and the rich and liking to be snobbish. While the women in the novel manifests the larruping change in the aspects of love, living style and colony character. In the language of the text, the novel describes the ordinary, the custom successfully, marking the close and blending from elegance to convention. In general, Strange Stories from a Scholar’s Studio retorts the slide of the artistic level in narration since Song Dynasty. Tracing and exceeding the Tang legends, which reflect Pu-Songling’s exploration, hard-working and the achievements in the narrative arts of the classical Chinese novels.更多还原