《聊斋志异》中《花姑子》《红玉》《青凤》的故事形态探析——从普罗普“故事形态学”的分析角度出发

An Analysis of the Story Forms of “Huaguzi”,“Hongyu” and “Qingfeng” in “Strange Tales From a Lonely Studio”——Based on V. Propp’s Morphology of the Folktale

俄国民俗学家普罗普通过研究俄国100个民间故事提出了故事形态学理论,该理论成为了研究其他民族民间故事叙述特征的重要工具。清代短篇小说集《聊斋志异》同样有着许多相似的故事形态,其中《花姑子》《红玉》《青凤》都采用“人妖相恋-家长拆散-灾难来临-获救-灾难解除-生子或团圆”的叙事结构,在角色设置上,也都出现阻碍者、加害者、施助者又是受助者三种类型,由此反映出《聊斋志异》诸篇叙事逻辑的同一性。

Russian folklorist Propp put forward the theory of morphology of the folktale form the study of one hundred Russian folktales.This theory has a profound impact and becomes an important theoretical tool for studying the narrative characteristics of folk songs of other ethnic groups.There are many similar story forms in Qing short story collections,“Strange Tales from a Lonely Studio”,among which“Huaguzi”,“Hongyu”,and“Qingfeng”that share the narration structure:man-demon marriage-parents’separation-disaster-being saved-disaster solved-having children or family united.In terms of figure setting,there are those who hinder,harm and help or the targets being helped,from which it reflects the identity of narrative logic in“Strange Tales from a Lonely Studio”.