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包公文学及其传播

The Literary Works about BaoGong and Its Communication

【作者】李永平 【导师】霍有明

【作者基本信息】陕西师范大学，中国古代文学，2006年，博士


【摘要 (中文/英文)】 从《史记》《汉书》起，历代史书记载中都有敢于犯颜直谏，打击权贵的“骨鲠之臣”，他们的事迹，有的甚至远超过包公。那么，何以包公会成为后世声名最著的清官?为什么偏偏他成了“箭垛式的人物”?笔者认为，是文学传播成就了包公，论文借助传播理论框架，做包公文学的传播研究。 概况而言，现实中的包公个人作为和历史叙事中的“话语建构”，正好契合了民族文化中的许多集体无意识的文化母题，因而成为后世文学叙事主题选择的诱因和受众所关注的看点，得以在民间充分传播扩散，形成相互关联的“文化群落”。其结果，是通过传播，使包公获得了很高的知名度。具体的论述分如下四部分： 第一编，就传播的社会环境，运用历史实证的方法，探讨包公获得传播的社会文化原因。 宋代，文化权力下移，其重要标志就是瓦舍的兴起。以娱乐为消费的戏剧观众的产生，使演艺由宫廷走向民间。从此，民间城乡各路艺人汇聚于瓦舍，使得官方与民间、城市与乡村长期分流的表演艺术终于迎来了交流汇合的契机。话本开辟了中国小说的新纪元。至此，以往的传播格局都打破了。包公正是在这个“节骨眼儿”上搭乘上了民间言说传播的这趟“新干线”。 同样，包公的传播离不开明君贤臣的模式。包公与仁...更多宗作为古代君臣相得的典范，获得了社会文化的广泛认同。离开了这一点，民间话语的言说将不会选择包公，这是我们理解包公传播的社会文化背景。 第二编，主要从传播内容方面，梳理了历史上包公文学的“多级”传播。 包公在元代传播是蒙元统治下的汉族知识分子集体无意识的民族认同。蒙元时期，汉民族传统面临割断的危险。距离汴京最近的包公故事及其传说和梁山聚义的传闻进入以儒立身的知识阶层的视野。所以在某种意义上说，“包公戏”和“水浒戏”的兴起既是汉民族文化的典型记忆，是一种民族文化的心理依赖，又是言说着实现正义的体制内和体制外的两种方式。同时，在市井细民和汉族官僚处于信息严重不对称的地位下，儒生创作搬演的元杂剧在一定程度上成为了准大众传播媒介，而且对社会舆论发挥了“议程设置的功能”。元杂剧作为新媒介，在官方和民间媒介普遍“缺失”(不同于“失语”)的背景下，承担了准大众传播媒介的部分职能，这是包公文学的一级传播。 传播需要逐级推进，并不断强化。明成化《包龙图公案词话》八种、《百家公案》、《龙图公案》为包公文学的二级传播；《清风闸》、《万花楼演义》、《三侠五义》为包公文学的三级传播。《百家公案》是年代最早、影响最大的明代短篇公案小说集；《龙图公案》则是其时传播最为广泛的公案小说。

From The Historical Records and The Book of the Western Han Dynasty, on the standard history of every dynasty ,the ara always liegemen who give the emperor forthright admonish. The influence of some others may greater than BaoGong,but why BaoGong becomes the most famous one among them? The author believe that it is all owe to the literary communication . Specifically, individual used as the in historical record is correspond to some collective unconsciousness in national culture. Because of this, it becomes the objective of literay narration and is disseminated in civilian. The formation of BaoGong's reputation is the result of this process. The specific discussion about this is like the following four parts: In the first part, through historical positivistic method, according to social environment of communication,the author discusses the social and cultural reason about BaoGong's communication. In song dynasty, the culture potence is moving nether,the drama audience is appearing, all of this make show business come into the civilian society. Form then on, the entertainment of official and civilian society join together. The traditional communication situation is collapsed. The high time of communication of BaoGong literature is coming. At the same time, BaoGong's spread cannot get away from the wise minister and liegeman model. BaoGong, take as the nonesuch of ancient people, gains the self-identify of social culture. This is the social and culture background of understanding BaoGong. In the second part, the author analyse the information multi-step communication of BaoGong literature from the aspect of its content. The communication of the figure—BaoGong in yuan dynasty is the national self-identify of Han intellectuals. In the period of yuan dynasty, the traditonal of Han is in danger. The story and legend about BaoGong and of other grass-rooted heroes, enter into the horizons of intellectuals. So form some extent, the rising of the drama about BaoGong is the typical memory of the Han's national culture and a kind of cultural dependence. At the same time, under the background of information-unbalance, the daram in Yuan dynasty is somewhat become the medium of mass communication. It holds on the Agenda-setting Function of Mass Media. This is the first-step of BaoGong's communication. On the narration part, the leading actor's function is getting more and more

【关键词 (中文/英文)】 包公; 包公文学; 传播; 叙事; 建构 BaoGong; the literature about BaoGong; communication; narrate; creation

【发表年期】2006年11期 【网络出版投稿人】陕西师范大学 【DOI】CNKI:CDMD:1.2006.117539 攻读期成果