摘要
儒道文化心理同构是中国诸多文学作品所体现出的结构模型。分析《长生殿》与《桃花扇》的表层意象结构和深层潜隐结构,论证两大戏曲从“拯救”的幻灭到“逍遥”的落定,从而完成终极和谐与动态趋圆的过程。
The same psychological tropism of Confucian culture is the structural model often presented in many Chinese literary works. Analyze the image structure of surface and potential deep structure . Prove the two dramas from the disillusion of salvation to the settlement of peripateticism and finish the process of the final harmony and dynamic agreement.
出处
《大连教育学院学报》
2005年第3期65-66,共2页
Journal of Dalian Education University
关键词
儒道
意象结构
潜隐结构
拯救
逍遥
Confucian culture
imago structure
potential structure
salvation
peripateticism