擬真敘事，如夢抒情
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Date
2010-03-??
Authors
賴芳伶
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Publisher
國立臺灣師範大學研究發展處
Office of Research and Development
Office of Research and Development
Abstract
《聊齋誌異》中真幻相攝的敘事手法，常透過出入他界或異常能力展現的情節構設，於虛實交錯的衍繹過程中，揭示、牽引或顛覆現實世界的經驗現象。〈寒月芙蕖〉與〈翩翩〉二篇小說，以非常的幻境作為敘事核心，同時蘊藉深沉的人間情感。其出幻入真的情節，不僅體現蒲松齡傳奇「誌異」的書寫意圖與審美情操；亦關乎恍若真實、色空如夢的道術展演，以及讀者的閱讀效用。小說融滲於敘事中的抒情韻致，尤啟人再三迴思，曲抵生命奧義。
By way of depicting entering and leaving the‘Other’world and demonstrating the extra sensory perception, the ‘Truth vs. Illusion’ narration in Strange Tales from a Chinese Studio reveals, drags or subvert experiential phenomena in reality. The two tales, ‘Hanyuefuqu’ and ‘Pianpian’, centre on a surreal dreamland and contain profound human sensibility. Shuttling between truth and illusion, the plots incarnate not only Pu, Song-Ling’s intention of signifying strange tales, his aesthetic sentiment but also the Taoist presentation, which seems to be real yet empty, and the readers’ reading utility. Above all, effusiveness in narrative mimicry makes the readers contemplate over and over until we reach the profound meaning of life.
By way of depicting entering and leaving the‘Other’world and demonstrating the extra sensory perception, the ‘Truth vs. Illusion’ narration in Strange Tales from a Chinese Studio reveals, drags or subvert experiential phenomena in reality. The two tales, ‘Hanyuefuqu’ and ‘Pianpian’, centre on a surreal dreamland and contain profound human sensibility. Shuttling between truth and illusion, the plots incarnate not only Pu, Song-Ling’s intention of signifying strange tales, his aesthetic sentiment but also the Taoist presentation, which seems to be real yet empty, and the readers’ reading utility. Above all, effusiveness in narrative mimicry makes the readers contemplate over and over until we reach the profound meaning of life.