[周玉波]明代民歌研究
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明代民歌研究
【作者】周玉波
【导师】陈书录
【作者基本信息】南京师范大学，中国古代文学，2004年，博士
【摘要】 有明一代，出于间巷的民歌日渐活跃，由成、弘而嘉、隆而万历，以自然清新的魅力直接影响了其时的文学理论和创作实践，这种影响，主要表现为文人开始积极主动地汲取民歌的营养，在重性情、重个人体验的层面，完成了对各种形式主义的冲击和反拨，从而极大地丰富和充实了具有人文启蒙意义的晚明文学革新思潮的内涵。 论文主要分为以下四个部分： 发生论。包括导论、第一章、第二章、第三章、第九章。明代民歌的势力从小到大，由弱到强，很大程度上是因为程式化严重的雅文学需要有新鲜力量的刺激，而民歌正好能够起到这种作用，于是得到了正在为雅文学寻求出路的李梦阳的青睐——“真诗乃在民间”(《诗集自序》)的发现告诉我们：李梦阳的复古，实际上不是要做古人影子，而是要回复到朴素、自然的轨道上来，这一点与民歌的精神，恰恰是相通的。万历年间，北地、中原民歌一起汇入南方民歌的洪流，《挂枝儿》风行一时，形成令人惊叹之局面，在此过程中，晚明文学革新思潮的代表人物袁宏道等人功不可没——一方面，新鲜活泼的民歌成为他们向旧传统宣战的利器；另一方面，民歌也因此得到了更多人的喜爱，并最终成为推动晚明文学革新思潮的有生力量。论文还从传播学的角度，高度评价了李开先、冯梦龙等人为明代民歌发展、壮大所作的贡献。 本体论。包括第四章、第五章、第六章、第七章、第十二章、第十三章。民歌之所以得到时人的喜爱，最主要的是因为它不虚饰，少格套，情真意切，因而沁人心脾，同时也因为它“私情谱”(冯梦龙《序山歌》)的特征满足了晚明社会受众纵情声色的心理需求。论文对明代民歌的情爱内容进行了归纳、分析，同时还拓展研究视野，如从“跳槽”类民歌透视晚明社会的性爱风气，探讨娼妓业的繁荣与民歌兴盛的关系，从小曲的角度切入推定《金瓶梅》的作者和成书年代，这是明代民歌从文学研究向文化研究延伸的尝试。论文还对十种稀见戏曲选集收录民歌的情况进行了梳理，一是大体理清了明代民歌在不同时期的存在状态，二是初步统计出现存明代民歌的数量约在2000首左右，三是纠正了郑振铎先生《中国俗文学史》等著述中引用明代民歌的某些错误，四是考察了民歌在不同刻本中的互见情况。 影响论。第八章。明代民歌对文学理论和创作实践的影响是明显的(理论上的影响，论文的“发生论”部分已经进行了较详细的阐述)。创作实践上的影响，主要体现在诗、词、曲的俚俗化倾向上，尤其是曲，明代的文人小曲如刘效祖的《挂枝儿》是文人散曲向民歌学习的典范，有着重要的研究价值。 背景论。包括第十章、第十一章。明代民歌的兴起、繁荣，实际上已经成为一种超越文学意义的社会现象，因此，以后现代理论来观照明代民歌反抗传统、追求个性解放的内在精神，从接受美学的角度来探讨明代民歌发生、发展、壮大的社会动因，既是研究方法创新的努力，也有助于我们在更广阔的文化背景下重新认识明代民歌和与之有着紧密联系的晚明文学革新思潮的现代意义。
【Abstract】 In Ming Dynasty, the folk songs got more and more active. Free from affectation, the folk songs greatly influenced the scholar-bureaucratic literature, concerning about the aspects of personal temperament and experiences. The writers, being keen on absorbing the nourishments of the folk songs, finally finished the lashing and correcting on all sorts of formalisms, so that they much enriched and substantiated the connotation of the enlightenment trends in literature in the late Ming Dynasty.This thesis consists of four part, i.e. the coming about, the ontology, the influence and the background of folk songs in the late Ming Dynasty-First, the comrng-about of the folk songs is touched upon, and this topic is mainly discussed in the Introduction Part, Chapter 1. Chapter 2. Chapter 3 and Chapter 9 in this thesis. The development of the folk songs in Ming Dynasty was, to a large extent, ascribed to the fact that the heavily stylized scholar-bureaucratic literature was in need of the stimulation by something new. ^olk songs, characterized by their clear nature, immediately won the favor of Li Mengyang, who was seeking a way out for the outmoded scholar-bureaucratic literature. As stated in The Preface of the Poem Collection (Vol 50. Collected Works of Kongtong), "The true poem comes from the folk." In fact, what Li Mengyang practiced was to make the literature simpler and more natural, just like the nature of the folk songs In a certain way, he propelled the development of the folk songs. During the period of time of Wanh. the folk songs from the northern and Central part of China converged into the current of the southern folk songs, among which Cassia Twig was the most popular In this process. Yuan Hongdao. one of the representative characters in the literary innovation in the late Ming Dynasty, played a significant role. On one hand, he used the fresh and lively folk songs very well as a sharp weapon to fight against the old tradition. On the other hand, his influence at that period of time helped folk songs win the supports of more people and finally become the main force to boost the literary innovation. Besides, contributions made by Li Kaixian Feng Menglong and etc. to the improvement of the folk songs of late Ming Dynasty are highly appraised in this thesis.Secondly comes the ontology, dealing with the folk songs themselves. It is covered in Chapter 4, Chapter 5, Chapter 6, Chapter 7 and chapter 13 The reason why the folk songs were popular was that superfluous words and formahstic styles were never used in folk-song and instead, folk songs were embodied with true affection. Moreover, the description of adultery in the folk songs satiated the social and aesthetic needs of sexual love. In this thesis, we summarize and analyze the contents of the folk songs in late Ming Dynasty. Meanwhile, for broadening of the vision of the field, die thesis discloses the vogue of sexual love in the late Ming Dynasty, through the studyingof the relationship between the prosperity of prostitution and the popularity of folk songs. Furthermore, we investigated the completion time and the author of the novel Jingpmgmei through studying ditties. Additionally, we organized and analyzed about 10 rare plays which used folk songs. By doing this, I have made it clear the developing of folk songs in different times, drawn a conclusion that there were more or less 2000 folk songs composed in the Ming Dynasty, investigated the cross-references of folk songs in block-printed editions, and lastly, but no less importantly, corrected the quotation mistakes of folk songs in Ming Dynasty in the book History of Chinese Folk Literature and other books written by Zheng ZhenduoThirdly, this thesis dwells upon the influence of folk songs in Chapter 8. In Ming Dynasty, folk songs had a clear impact on the literary production as well as literary theories. The impact on the literary theories has been clearly stated above So here I only explain the impact on the literary production. This impact is mainly incarnated in the tendency of vulgarization of
【关键词】 明代民歌; 晚明文学革新思潮; 互动关系
【Key words】 the folk songs of the late Ming Dynasty; the trends of the literary innovation in the late Ming Dynasty; the interacting relationship
【网络出版投稿人】南京师范大学 【网络出版投稿时间】2004-10-19 【网络出版年期】2005/01
【DOI】CNKI:CDMD:1.2004.122697 【分类号】I207.7 【下载频次】470
