| 摘要: | 明代尤其是中晚明，在思想上出現很大的變化，而其中又以對「情」的崇拜為非常重要的一環；不但影響當時的文人對「情」的看法，更帶動了整個文壇，掀起一股對於情感和慾望皆高度自由的「言情」思潮，亦使得戲曲、小說的地位被提升，開始被有意識地視為文學巨作。也因為大環境的種種因素使然，湯顯祖（1550—1616）不但提出了以「情」抗「理」的論述，更創作了明代戲曲中，高揚「情至」的《牡丹亭》。而自古以來，中國古代歌詠愛情的文學作品大多含蓄婉約，像湯顯祖這樣，認為在愛情過程和事跡，並非理性所能認定和判斷的，確實為當時文壇上的奇葩。於是，情至之作《牡丹亭》一出，不但造成明代文壇上的轟動，興起一股「《牡丹亭》熱」，亦深深地影響後世戲曲上的承襲與創作，以及現當代的小說與電影中的創作與改編。而透過這些不同的藝術形式的改編與創作的迴響，更能真實地反映出《牡丹亭》的成功與價值，被稱為「經典」之作，可謂實至名歸。 在本論文中，筆者嘗試以現當代的作品與《牡丹亭》之間的互文關係，並以「杜麗娘」為核心，來進行跨古跨今的跨文本考察，希望能從現當代的視野、創新的意念、美學價值中，找出新的經典的可能。 總言之，本論文的研究方向，將從兩條路線來進行跨文本的考察：人物上，是以「杜麗娘」為核心；內容上，則是偏重在「還魂」與「再生」，並從「情至」談起。又因本論文是從「跨文本的考察」為出發點，所以除了會以「互文理論」為理論依據之外，更會從多元化的角度、方向來進行跨文本的分析，考察「杜麗娘」和她的「還魂」與「再生」，及其所衍生出的相關議題。 Tremendous changes had happened on thought in Ming Dynasty, especially during the middle and the late Ming, while the worship to “affection（情）” has been regarded as a very important part. As such, it had not only influenced the intellectuals’ way of looking at “affection” but also stirred up a tendency of “romance（言情）,” which was highly liberal to emotion and desire in literary circle. It also promoted the status of traditional opera and novel, for them starting to be viewd as a literary masterpiece. Because of several factors of the macro-environment, Tang Xianzu (1550-1616) not merely presented the theory of “affection against rationality（以情抗理）;” he additionally created “Peony Pavilion” that highly emphasized “consummate affection（情至）” among all Chinese opera in Ming Dynasty. From time immemorial, literary works that eulogize love in ancient China are most composed with subtle and implicit manner. The writer like Tang was really a marvel at that time because he considered that the processes and events of love can not be determanded and judged by rationality.Therefore, when “Peony Pavilion” of “consummate affection” is created, it caused a sensation which is called “Peony Pavilion Fever（《牡丹亭》熱）” and it had profoundly effect on inheritance and creation of Chinese opera for next generations as well as the adaption for versions of novel and movie nowadays. Through these various forms of adaption in modern time, they can truly reflect the success and value of “Peony Pavilion,” which is worthy of its title as a classic（經典）. In such a way, the author of this thesis will try to make use of the mutual interfering relationship between “Peony Pavilion” and contemporary literary works, using Du liniang as the core, to conduct a cross-textual research（跨文本考察） across antiquity and nowadays. Hope to discovery the possibility of a new classic from the contemporary viewpoint, innovative ideas and aestheric values. As a whole, the research approach of this thesis will be two separate ways. For the figure, it will base on “Du liniang” as the core; while for its content it will stress on “regeneration（還魂）” and “revival（再生）” as begining with “consummate affection.” Furthermore, since this thesis starts from “cross-textual research,” aside from taking reference of “intertextuality theory（互文理論）,” it will proceed cross-textual（跨文本） analysis from the perspective of diversification. In order to survey “Du liniang,” her “regeneration and revival” and other relevant issues. |
