On the Sentential Periphery in Chinese and Vietnamese

朱佐朝（生卒年不詳），字良卿，明末清初重要戲曲家，蘇州派主要成員。有別於自上世紀已受前人學者留意的李玉，朱佐朝的研究至今寥寥可數，有待開展。他具有士人與職業劇作家的雙重身份，作品表達個人思想，還要顧及劇場效果和觀眾的共鳴。因此，本文將從觀眾考量、舞台面向等角度，探尋朱佐朝如何協調市民、士人的關懷及信仰，並以富有演出效果的方式來呈現，進而管窺明清之際通俗商業戲曲的創作方式和社會文化意義。論文共分為六章。第一章回顧學界對朱佐朝及蘇州派的研究，並提出本文的問題意識。第二章討論朱佐朝如何書寫士民的易代情感與思想。《萬壽冠》和《漁家樂》二劇同以皇位鬥爭為焦點，前者反思儒家正統禮教綱常，體現其士人身份，後者聚焦平民的遭遇行動，顯示其關注市民貼近民生的另一面向。兩劇的氣氛情調各異，顯示劇作家對同一題材的不同處理。第三章分析《乾坤嘯》、《九蓮燈》如何讓民眾宣泄政治憤怨，並關注劇中對皇權、華夷等議題的呈現。第四章聚焦於士人處境，展現《艷雲亭》、《御雪豹》劇中，文人士大夫在國家軍事危機和現實生活壓力之下的精神面貌。第五章轉向晚明以來廣受關注的情欲議題，揭露隱藏於《石麟鏡》、《吉慶圖》劇中官方意識形態背後的顛覆力量，顯示朱佐朝對傳統道德的若即若離。第六章概括各章重點，回應現有蘇州派研究，作為總結。由於生平資料的缺乏，現今戲曲學界對朱佐朝其人所知甚少。本文藉由審視其多部劇作，重塑其思想面貌、編劇特色，補充現有研究的空白。朱氏擅於在劇中為演員預留表演空間，並巧妙利用歷史事件、戲曲傳統、民間信仰、社會風尚，增加劇作的觀賞性，引起觀眾共鳴。他的作品經常引用儒家經典，情節也與之呼應，可見其士人的身份認同；但是劇中對傳統思想又有所調整，於正統倫理依違兩可，甚至蘊含挑戰，這做法少見於其他蘇州派作家。其劇作寫出社會的觀念轉變，並讓觀眾釋放怨氣和壓力，突顯通俗劇作的文化意義和社會功能。本文期望豐富對朱佐朝的認識，突顯他在蘇州派，以至清初戲曲中的特殊位置。Zhu Zuochao, also known as Zhu Liangqing, was a 17th century popular Suzhou playwright. Different from Li Yu, another Suzhou playwright who has been richly discussed by researchers, Zhu has gain much less attention from academia. Zhu was simultaneously a literatus and a professional dramatist. His works expressed his personal thoughts and feelings, but audience resonance and dramatic effects were also carefully considered. Focusing on Zhu’s double identity, this thesis aims to investigate how he negotiated literati’s concerns with public interests and beliefs in his plays to be performed at the urban theatre. This study also tries to explore the formula for creation at the commercial theatre as well as the socio-cultural significance of melodrama in early-Qing China.The thesis consists of six chapters. Following the introduction, Chapter Two examines how Zhu displayed people’s thoughts and emotions about orthodox Confucian ethics during the Ming-Qing transition in Wanshou guan and Yujia le. Chapter Three illustrates political grievances expressed in Qiankun xiao and Jiulian deng by way of discussing their treatments of sovereignty and the “Chinese-Barbarian distinction.” Chapter Four revolves around the literati’s situation and mental status under life pressure and the military crisis of the empire in his time, using Yuxue bao and Yanyun ting as main examples. Chapter Five pays attention to the issue of desire versus ethics, which was a major concern during the late Ming, and demonstrates the consciousness of rebellion against official ideology in Jiqing tu and Shilin jing. Chapter Seven is the conclusion.This research sheds light on Zhu Zuochao’s mental outlook and dramaturgy. He composed drama using historical events, drama classics, folk religion, and social trends as writing resources to appeal to the audience. His plays often refer to the Confucian classics, which fact exposed his identity as a literatus-scholar. However, in his works there is an ambiguous attitude toward Confucian moral ethics, sometimes even a challenge to it, which marks his uniqueness among the Suzhou School of dramatists. His works not only reveal the changing social concepts, but also allow the audience to release pressure and anger. And this highlights the social function and cultural significance of melodrama.NGUYEN, Thi Hong Quy.Ph.D. Chinese University of Hong Kong 2021.Includes bibliographical references (leaves )Abstracts in English and ChineseTitle from PDF title page (viewed on …