摘要
自元杂剧《窦娥冤》问世以来,以窦娥为核心的民间说唱作品盛行不衰,该故事亦成为民间宝卷的常见题材。介休《金锁宝卷》流传甚广的原因,不仅在于故事本身具有强烈的感染力,更契合了宝卷作为仪式文艺所承载的信仰教化与娱乐功能需求。在已经失去仪式活态的介休宝卷中,《金锁宝卷》在版本特征与文本内容上均展现出鲜明的地域独特性。从叙事结构角度探讨《金锁宝卷》与元杂剧《窦娥冤》的异同,可为解析窦娥故事在介休宝卷中的叙事特质提供重要思路。
Since the publication of Zaju opera of the Yuan Dynasty The Injustice to Dou E,folk storytelling and singing works centered on Dou E have flourished and endured.The story has also become a common subject in Baojuan(a genre of ritual storytelling text).Its widespread circulation is due to both the powerful emotional impact of the story itself and its alignment with the dual functional demands of faith-based edification and entertainment Baojuan carried as a form of ritual performative art.Among the Baojuan which lost their active ritual context,the Jiexiu version of the Golden Lock Baojuan exhibits distinct regional uniqueness in both its textual features and content.Exploring the narrative differences and similarities between it and the Zaju opera The Injustice to Dou E from the perspective of narrative structure can provide important insights for analyzing the narrative characteristics of the Dou E story within the Jiexiu Baojuan tradition.
作者
于红
叶园
YU Hong;YE Yuan(Institute of Literature,Taiyuan Normal University,Jinzhong O30619,China;Research Center for Poetry,Ci and Qu,Taiyuan Normal University,Jinzhong O30619,China)
出处
《太原师范学院学报(社会科学版)》
2026年第1期39-45,共7页
Journal of Taiyuan Normal University:Social Science Edition
关键词
仪式文艺
介休《金锁宝卷》
《窦娥冤》
叙事结构
ritual literature and art
Jiexiu's Golden Lock Baojuan
The Injustice to Dou E
the narrative structure
