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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/68113


    Title: 木石為盟:花∕園、情∕書、紅樓夢;The Oath between Wood and Stone:Flower∕Garden、Love∕Letters、The Dream of the Red Chamber
    Authors: 劉惠華;Liu,Hui-hua
    Contributors: 中國文學系
    Keywords: 紅樓夢;大觀園;木石前盟;中國園林;the Dream of the Red Chamber;The Grand View Garden;The Wood and Stone′s Previous Oath;Chinese garden;Flower fairy
    Date: 2015-08-27
    Issue Date: 2015-09-23 10:45:01 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 《紅樓夢》始於女媧棄石、木石情盟兩則神話,終於誕生大旨談情的「石上書」。中國園林理水疊石必用石與木,本文借鏡傳統中國園林知識與理論,回歸以園林之「物」為主的研考,並受啟於物質文化研究的物之生命史(the social life、the cultural biography of things)之說,以九世紀起唐宋文人園林初初形成時,備受矚目的太湖石為起點,其之為物的自然性質完備於十二世紀北宋《雲林石譜》的園林奇石譜錄,奇物為商品生產過程與使用方式,進而彰顯使用者對於物品的認識與心態,再因醜怪奇形連結文人雅文化,後因具高度市場價值連結奢侈文化而成為園林標誌。其次,認識其獨特的社會生命過程與文化敘事空間,如何表現在不同的時代與文學文類中,遂發現太湖石在元明之後被敘事文本廣泛接受的同時,無論才子佳人故事新編抑或當代世情小說,後花園程式化的通俗園林書寫已然成熟;而終觀十八世紀清代曹雪芹的園林,卻著意一顆不奇之奇的青埂石,更彰顯經歷夢幻的《紅樓夢》與其前文本《牡丹亭》一脈木石情盟為園林書寫帶來的新意。《紅樓夢》係「石上書」生成的記事本末,也就是:青埂棄石、通靈寶玉、石兄,和神瑛侍者、賈寶玉、情僧,兩者雖各自三位一體,卻又體戚與共於書寫合作的歷程,最足證成奇物「通靈」新意涵,係通靈寶玉微型攝影機的「目擊」與「記錄」職能。
    大觀園是一花塚,「石上書」為閨閣昭傳,矩形方物正是追述芳魂的一方女兒墓誌銘。本文闡釋雪芹花木書寫新意,借鏡花園∕花神信仰,「做十六歲」在花園內,大觀園為青春樂土,拒絕成長。曹雪芹將迎春的花朝活動改為芒種餞花會,花詩讖預告凋零,崇祀孤娘、花神,死亡安置作為早夭女兒的救贖。大觀園的命脈是沁芳溪,落花流水是女兒宿命的寫照,落花沁芳的死亡美學正是《紅樓夢》特殊之處。
    紅樓夢在第一回寫本書的生成與閱讀方法,木石為盟可解為《紅樓夢》的成書過程:石頭記錄女兒傳記,經由第一個讀者空空道人而有抄寫本,後以木作紙張、為雕版活字而成書。正因女媧棄石形狀方正,實在可指涉曹家家族的出版盛事,祖父曹寅奉敕刻全唐詩、私刻楝亭藏書,祖孫以刻書為傳家之大業,各流傳國家經典與家族私人記憶。
    ;The Dream of the Red Chamber starts by two legends, Nue Wo Stone on Ch′ing Keng Peak and the Oath between Wood and Stone, leading to the writing of “Story on Stone” introducing the theme of “qing”.
    Drawing on the discourses and concepts associated with Chinese gardens, as well as the archaeology of the Wood and Stone, this novel excels in innovation instead of inheriting the old tradition. Overall, the novel’s reflections on the Wood and Stone is inspired by the cultural biography of things, employing as the preliminary example the famous Taihu Rock, originated in various gardens of the 9th century, then classified in the Stone Catalogue of Cloudy Forest in the 12th century. The ugly shape of objects was integrated as part of the Elegance culture of Literati, further obtained high monetary value in Luxury culture, and finally became the signature symbol of writings on Chinese gardens.
    Then, the literary expressions in different times and genres are discussed to reveal the unique process of social life it experiences and how it occupies certain cultural space. Since the Ming, and Qing Dynasty, the Taihu Rock often appeared in romantic literary texts, formularizing a style of garden writings. In terms of the Dream of the Red Chamber issued in the 18th century, Cao Xueqin chose to focus on the Stone of Ch′ing Keng peak, demonstrating a refreshing aspect of spiritual revelations from objects, which bear the function of witnessing and recording events as valid facts. Via a stone of spiritual connotations, dreams, fantasies and reverie fate in the Dream of the Red Chamber have become thematically coherent with the Oath between Wood and Stone explored in the Peony Pavilion, creating a new writing style on Chinese gardens.
    The Grand View Garden is a Flower/ Wood Mound, and hence the Story on Stone refers to tomb inscriptions making the voice of unmarried women heard and recorded. Engaging the legend of Flora Faith to interpret young girls getting together in garden, the Grand View Garden turns to be a paradise for youth, refusing to grow up. The Flower Festival in spring is transformed to the Party of Flower Preserves, the Grain in Ear Festival and the Prophecy of Flower Poetry, forecasting the withering flowers as well as the appearances of ko–niu and Flower Fairies to suggest the liberation for girls of premature death.
    The creation of the novel itself can be explained as a combination of wood and stone as the carved characters on the stone became stone inscription, then turned into transcriptions by one Taoist monk, that were finally turned into the form of wooden letterpress. The abandoned stone comes in perfect square shape, providing index to the publishing contribution by Cao′s family. Cao’s grandfather received the imperial decree to print the Entire Tang Poems, grandson and grandfather regarded printing books as honorable family business conducive to the preservation of both classic scriptures and private memories.
    Appears in Collections:[中國文學研究所] 博碩士論文

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