摘要
依托于标志性的宋元讲史家话本以及小说家话本的分回文本,我们可以看到说话伎艺现场分回的基本状貌,也能以此为基础对于现存文本中的“每一回”做出更为清晰的观照。我们现在看到的来自宋元的小说家话本都是短篇的作品,可这只是它们被文本固化后的形态,在说话伎艺的表演场上,由于要分回演述,这些作品都应有更长的篇幅。这些作品都分属小说家下的八个类别,但由于表演的故事与我们现在所看到的文本在篇幅上存在极大的差异,因此,类别归属在文本中也会发生偏移。我们既不能以现存文本的状况质疑宋元时期这些小说所属的类别,同时也应正视文本固化后这种类别偏移的现实,而这其实也是世情小说得以最终出现的重要因缘和契机。
Drawing on the chaptered texts of distinctive historical-storytelling novels and storytellers' novels in the Song and Yuan Dynasties,we can observe the general contours of segmentation(chaptering) in the storytelling art performance by identifying the segmentation markers and related elements and gain a more precise insight into “each chapter” within existing texts.The storytellers' novels we currently encounter from the Song and Yuan Dynasities are fundamentally short works,reflecting their consolidated textual form.However,in the storytelling performance venue,these works would be expected to have greater length due to the narrative segmentation.While these works fall within the eight categories under storytellers,the substantial length disparity between performed stories and present texts leads to a noticeable shift in category representation.It is imperative to acknowledge this shift after textual consolidation without undermining the historical categorization of these novels from the Song-Yuan era,as it serves as a pivotal factor for the eventual emergence of popular novels.
作者
叶楚炎
Ye Chuyan(School of Liberal Arts,Minzu University of China,Beijing,100081)
出处
《山东师范大学学报（社会科学版）》
CSSCI
北大核心
2024年第5期36-48,共13页
Journal of Shandong Normal University(Social Sciences)
基金
国家社会科学基金后期资助项目“古代通俗小说的文本标识与文体建构”(22FZWB104)的阶段性成果。
关键词
宋元白话小说
文本固化
类别偏移
世情小说
vernacular novels of the Song and Yuan Dynasties
textual consolidation
category shift
popular novels
