| dc.description.abstract | 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.
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