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论文以中国古代白话小说《滕大尹鬼断家私》和文言小说《芙蓉屏记》为例,探讨白话小说和文言小说在运用绘画因素时的差异,即绘画在《滕大尹鬼断家私》中作为偏倚物质性质的工具出现,在《芙蓉屏记》中作为偏倚精神性质的符号出现。进而尝试探讨文言小说与白话小说呈现的作者不同的创作追求。
Taking the ancient Chinese vernacular “Teng Da Yin Gui Duan Furniture” and the classical Chinese novel “Furong Screen Recorded” as an example, the dissertation explores the differences between the vernacular novels and the classical novels when applying the factors of painting. That is, Private “as a tool of the nature of the material bias, appear in the” Furong screenings "as a symbol of the nature of the spirit of the emergence of bias. Then it tries to explore the different creative pursuits of the authors presented by classical novels and vernacular novels.