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標題: | 民間目連戲中神鬼世界之探討:以《新編目連救母勸善戲文》為核心 A Study of Gods and Ghosts in Mulian Drama: Focusing on Xin Bian Mu Lian Jiu Mu Quan Shan Xi Wen |
作者: | An-Pei Fu 傅安沛 |
指導教授: | 林鶴宜(Ho-Yi Lin) |
關鍵字: | 目連戲,新編目連救母勸善戲文,鄭之珍,神鬼,地獄, Mulian Drama,Xin Bian Mu Lian Jiu Mu Quan Shan Xi Wen,Zheng Zhizhen,gods and ghosts,hell, |
出版年 : | 2017 |
學位: | 碩士 |
摘要: | 出身自廟埕演劇的目連戲,由於其宗教性濃厚,長久以來不入文人之眼,甚至被扣上封建迷信的罪名,但目連戲其實是民間社會的描摹,其所塑造的超現實神鬼世界更與現實社會相互呼應。鄭之珍是將各地目連戲演出本進行整理改造的第一人,其鄉村秀才的身分,使他所改編整理的《新編目連救母勸善戲文》(本文簡稱《勸善記》)充滿對民間思想文化的依循與認同,因此,《勸善記》不只蘊含有文人神道設教的意圖,也同時保留了社戲於民間演出時的神祕特質與狂熱氣氛。
本論文首先簡介目連救母故事在民間衍進的情形與演出的意義,接著以《勸善記》為核心,探討此劇所塑造的地獄景觀與民間信仰中的地獄想像如何彼此影響,以及《勸善記》中的地獄酷刑與地獄罪行所隱含的罪罰觀念。 目連戲的面貌多樣,在不同的場合、面對不同的觀眾,往往呈現不同的特色,而《勸善記》保留了目連戲的多種樣貌。《勸善記》塑造的神鬼世界,在文人視野下,反映出民間為了重建正義所形成的功過積累傳統,以及源於人性的彌補心態和復仇思維,《勸善記》亦在其所塑造的神鬼世界中,顯現了封建皇帝如何透過神鬼信仰建立自身君權的合法性;作為農暇時間村民們的社戲,《勸善記》展現了庶民如何透過宗教信仰、神鬼信仰去面對、處理其所熱愛的現實人生,而觀眾對於目連戲的投入與觀看時的心理狀態,則反映出中國庶民文化的特色以及鬼戲所帶來的恐懼效應。 Mulian Drama, which originated from temple square theaters, has not been taken seriously by scholars due to its strong religious influence and has even been regarded as a feudal superstition. However, Mulian Drama was a depiction of folk society, wherein the surreal world of gods and ghosts it created echoed the real world. Zheng Zhizhen was the first to reorganize and remake the scripts of Mulian Dramas from various regions. Being considered a rural scholar, his adaptation and reorganization of Xin Bian Mu Lian Jiu Mu Quan Shan Xi Wen (hereinafter referred to as Quan Shan Ji) adhered to and identified with folk ideology and culture. Hence, Quan Shan Ji not only showed the intention of scholars to lay down their teachings but also retained the mystical qualities and fanatical atmosphere of folk drama performances. This study briefly introduced the evolution of the story of “Mulian Rescues His Mother” in folk society and the significance of the performance. In addition, the study focused on Quan Shan Ji to investigate the landscape of hell as described in the drama, and its influence on how hell is imagined in folk beliefs as well as in the concept of punishment by methods of torture and crimes. Mulian Drama is multifaceted and projects different qualities on different occasions in front of different audiences. Quan Shan Ji has retained the many faces of Mulian Drama. From the perspective of scholars, the world of gods and ghosts created in Quan Shan Ji reflected the tradition of accumulating good deeds formed by folk society to rebuild justice as well as the mentality of remedy and revenge originating from human nature. The world of gods and ghosts created in Quan Shan Ji demonstrated how emperors during feudal times built the legitimacy of their monarchical power through beliefs in gods and ghosts. As a community drama performed during the leisure time between agricultural seasons, Quan Shan Ji revealed how common people faced and managed the real life they loved through religious beliefs, and beliefs in gods and ghosts. The psychological state of the audience while watching and immersing themselves in Mulian Drama reflected the cultural characteristics of the common people in China and the fear brought about by ghost dramas. |
URI: | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/2696 |
DOI: | 10.6342/NTU201700062 |
全文授權: | 同意授權(全球公開) |
顯示於系所單位: | 戲劇學系 |
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