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《白兔姑娘》是回族民众中广为流传的一个民间故事。它以“变形逃亡”为核心母题讲述了回族姑娘阿伊莎由人变形为白兔,又由白兔恢复人形,并找到了自己幸福归宿的故事。该故事与魏晋时期干宝的《搜神记》中《女化蚕》同属一个类型,即“变形逃亡”故事。这二个故事分别出自回汉二个不同的民族文化传统,其“变形逃亡,,母题的文化寓意也截然不同。根据笔者的比较研究后发现,《搜神记·女化蚕》故事中的女主人公是在外力因素的胁迫下完成”变形逃亡“的。这里的”变形逃亡“是对女主人公”言而无信“的一种惩罚。所以称之为”惩罚式的变形逃亡“;而《白兔姑娘》故事中女主人的”变形逃亡“是在完全自愿的,没有外力因素的胁迫下完成的。这里的”变形逃亡“也就变成了女主人公脱离囚禁,获得幸福的合理要素。所以称之为”非惩罚式的变形逃亡“。
”White Rabbit Girl“ is a popular folk story among Hui people. It is ”deformation flight “ as the core motif tells the story of the Hui girl Transforming Aisha by the people into white rabbits, but also by the white rabbit to restore human form and find their own story of happiness and destiny. The story and the Wei and Jin Dynasties Qianbao ”search God“ in the ”female silkworm“ belong to the same genre, that is, ”deformation flight “ story. The two stories are from the two different nationalities back to the traditional cultural traditions, the ”deformation escape “, the motif of the cultural meaning is also very different.According to the author’s comparative study found that ”God“ In the heroine is under the stress of external factors to complete ”escape “ here ”deformation flight “ is a heroine ”Punishment of the deformation of escape“ and ”White Rabbit Girl“ story of the hostess ”deformation flight “ is completely voluntary, without external factors under the coercion of the It becomes a reasonable factor for the heroine to escape from captivity and gain happiness, so it is called ”non-punitive deformation flight".