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西方学术界对中国文化中鬼怪形象的研究大多从宗教学、人类学及民间文学等角度出发,其着眼点或为民众对冥界之一般观念、或为丧葬礼仪之象征意念。我们的研究角度有所不同。我把文学中鬼的形象当作一种艺术和文化的创造,既高度复杂又自成传统。这种创造虽与宗教信仰、社会习俗有关,但绝非信仰与习俗的被动反映。本文专注于女鬼及与当时文化、思想潮流的关系。 女鬼形象在十七世纪文学中的特殊地位与当时社会上对美貌才女之死的强烈兴趣有着直接关系。这种兴趣在汤显祖的《牡丹亭》(1598年)里得到了最集中的反映。《牡丹亭》
Western scholars mostly study the image of ghosts in Chinese culture from the perspectives of religion, anthropology and folk literature. They focus on the common concepts of the underworld or the symbolic ideas of funeral rites. Our research perspective is different. I consider the image of the ghost in literature as a creation of art and culture that is both highly complex and self-contained. Although this kind of creation is related to religious beliefs and social customs, it is by no means a passive reflection of beliefs and customs. This article focuses on the relationship between the ghosts and the culture and ideological trends of the time. The special status of the image of the ghost in the literature of the seventeenth century was directly related to the intense interest in the death of the beautiful and talented women in society at the time. This interest has been most concentratedly reflected in Tang Xianzu’s Peony Pavilion (1598). “Peony Pavilion”