文档介绍：Classified Index : CODE:10075 : NO: gxjs04032 A Dissertation For The Degree of LiYu’s Theory of Novel and Creation Candidate: Wang shu fen Supervisor: Chines Classical Literature Academic Degree Applied for: Master of Art Specialty: Ancient Cinese Literature University: He Bei University Date of Oral Examination: June , 2006 摘要 I 摘 要 李渔长年从事戏曲剧本创作和舞台指导工作, 在丰富的舞台实践中他总结出自己独到的叙事经验和叙事方法,并形成了自己的戏曲理论,集中表述在《闲情偶寄》中。李渔把这些理论应用到小说创作中,写出了许多独具特色的白话短篇小说并结集流传,有《十二楼》、《无声戏》等。故李渔的小说创作与他的戏曲舞台经验、戏曲创作理论分不开。他认为小说就是“无声戏”,小说与戏曲有相通之处;二者都重叙事,重人物,重叙述语言。由此衍生出的小说理论,主要包括小说观和创作论两部分。李渔“小说就是无声戏”的观点把小说虚构情节和塑造人物的特点放在很重要的位置,促进了小说文体的自觉,肯定了小说的地位和作用。李渔的小说创作论主要观点是讲究求新求奇与日常用度的统一, 结构与内容的统一。李渔意识到艺术的真实必须存在于生活真实的基础上。只有围绕日常用度求新求奇的小说作品才能获得读者的肯定并能长久地流传。此外,李渔十分重视故事的结构,认为安排好结构才能支撑起全篇。与李渔小说理论密切相关的是叙事方法和创作模式, 他自觉地大量运用限知视角的叙事方法。小说往往在结局处,奇中翻新,出人意表。这既是小说叙事技巧的成熟,也是这种叙事技巧的自觉,给李渔小说带来了神秘性和强烈的审美惊奇感。此外,他对传统话本小说的入话和征引诗词部分也有突破与创新。 李渔的小说创作最值得人注意的是小说中文人化的气息和倾向。小说本出自里闾, 随着说话艺术的发展和成熟,日益发展着“俗”的特色。到李渔这里,他面对着长篇白话小说叙事方法、人物刻画技巧渐趋成熟,小说的影响日益深广的现实。才华横溢的才子李渔通过一系列文人化的叙述来改造小说之俗。他尽量在小说的故事情节、叙述手法和人物塑造上注入文人化的气息;在俗中求雅,使其小说更有可读性,成为案头作品。其小说的故事情节脱离了直白地叙述,代之以深刻和悬念迭起的更具文学性的情节;摆脱了浅薄、低俗的喜剧,代之以厚重、令人回味和思索的喜剧风格;摆脱了简单的人物形象刻画,代之以丰满、立体的人物形象。 关键词 李渔 小说观 叙事方法 创作体制 喜剧特色 Abstract II Abstract Li Yu was engaged in playwriting and stage guidance for a long time. He concluded a lot of narrative experience and methods in the large amount of stage practice and formed his own drama theory, which was demonstrated in “ XIAN QING OU ZHI “. Li Yu applied the theory in his novel writing, creating many ingenious short stories in the vernacular and handed them down in collections, such as “Shi Er Lou” a nd “Wu Sheng Xi”. Li Yu’s formation of novel theory and novel creation were closely connected with his drama stage experience and drama creation theory. He believed that novels were dramas in silence and both of them had something mon, that was, both of th