Yuan Dynasty Family Drama Narrative Research

The family drama of the Yuan Dynasty is taken as the research object.The family drama of the Yuan Dynasty has a broad extension.It not only explores the living conditions of family members,family relationships,and life course,analysing the ethics in family life and daily communication,but also involves men and women in entering into marriage.So the dramas related to the establishing a family,marriage,love,kinship,and other related dramas,as well as some historical dramas,official case dramas,social dramas from the family perspective,or dramas related to family life are included in the study.By interpreting the narrative subject matter,digging its narrative form and connotation,taking Chinese and western narrative theory as the starting point,and advocating based on local and Chinese and Western references,providing different perspectives on the narrative art of family drama in the Yuan Dynasty.In addition to the introduction and conclusion,the main content of the thesis is divided into two parts,the upper and the lower parts.The upper part interprets the narrative contents of family dramas in the Yuan Dynasty.Starting from the play texts,it focuses on the interpretation of marriage and love themes,kinship themes and other plays.The social and cultural implication;the narrative art research of Yuan Dynasty family dramas is edited,and the narrative art of Yuan family dramas is discussed and researched from the aspects of narrative time,space construction,narrative perspective and plot structure.The main body of the thesis includes six chapters.The first chapter explains the themes of marriage and love in family dramas in the Yuan Dynasty.From the marriage situation before and after,the play is divided into love relationship drama and couple relationship drama.Before the marriage was concluded,the emotional entanglement and tempering between young men and women,such as the longing for sincere love,guarding the steadfastness of love,and the struggle when love was hindered and destroyed;also included the special relationship between scribes and prostitutes.The illusory dreams of literati for worldly love at that time.Diversified couple relationships mainly include couple love and family harmony;dissonance between couples and wives and children,and interpretation of related dramas,and then from the perspective of marriage and the marriage system in the Yuan Dynasty society,the concept of marriage and love and family ethics Let's analyze the age characteristics and cultural connotation of couple relationship dramas,and reveal the playwrights' choice of ethics and morals,as well as the ideal blueprint for family and marriage status.The second chapter is about the kinship of family drama in Yuan Dynasty.By sorting out the meaning of kinship and social identification,the kinship relationship is subdivided into the relationship between father and son,mother and son,and peers.Most playwrights use the father's role in the play to express their expectations of establishing a harmonious and orderly family ethics norm.The appearance of the father's image and father-son relationship in the play shows that they gradually began to re-understand the father-son relationship more fully.Most of them are symbolic or Facebook,and the "unreal" mother images are intentional settings that conform to the ideal construction and value identification under the patriarchal discourse system.Peer relations dramas mainly involve brothers and brothers who have deep brotherhood,harmony,and order,and promote the traditional Confucian ethics and morality of brotherhood,brotherhood,brotherhood,and respect;family disputes caused by the issue of the inheritance and distribution of property between relatives and relatives;Authority to punish sanctions for disrupting and undermining normal ethical order,in order to understand the social ideals of the playwrights for punishing evil and promoting goodness,and their moral judgment criteria;problem.The third chapter studies the narrative time of family drama in Yuan Dynasty.This thesis mainly focuses on text narrative,because it does not discuss stage narrative and does not involve stage performance time.Analyze the narrative sequence in family dramas from three aspects:forward narration,pre-narration and flashback.The play may use natural time sequence to narrate the beginning and end of the event,making the plot coherent and compact,and the story clues clear.The fragility and helplessness of life,expressing appeals for good and evil,or retrospecting the past,expanding the time of the story and increasing the capacity of the plot.According to the contrast between the narrative time of the play and the actual time of the story,according to the needs of the narrative center of gravity or the atmosphere and emotions,the narrative time is reasonably adjusted by omitting,summarizing,slowing down,and stopping to grasp the narrative rhythm.With regard to the processing of narrative frequency,through single narrative,multiple narrative,general narrative and other means,we can know the narrative strategies of playwrights in characterization and plot arrangement.The fourth chapter is about the spatial construction of family drama in the Yuan Dynasty.The family place,social place,and "illusory" space are used as the story space of the play.The internal space of the family itself,the contrast and correlation between the internal and external space of the family,the comparison between the real space and the "unreal" space,etc.The comparative relationship of the story space of the family drama is analyzed,and then the function of the story space in shaping the character image,assisting the evolution of the plot,and expressing the significance of the theme is discussed.The fifth chapter studies the narrative perspective of family drama in Yuan Dynasty.First of all,it examines the bearers of the narrative perspective,analyzes the different types of narrative perspectives from the perspectives of the narrator and the text,and uses the omniscience and limited knowledge perspectives of the play to explore the choice of narrative perspectives and their narration in family dramas in the Yuan Dynasty.means.The setting of the narrative gap in the play is related to the time mechanism of the narrative,which assists the logic and rationality of the development of the plot,and the differences and opposition and inherent unity of the perspectives of the characters in the play represent the different effects and aesthetic connotations transmitted by the multi-dimensional perspective.The sixth chapter is about the structure of the narrative festival of family drama in Yuan Dynasty.The family drama of the Yuan Dynasty used the narrative level of the explicit structure of the play text to explain the social and cultural background in the latent structure.The plot clues of the explicit structure intersect and intersect with the cultural connotation of the latent structure.The narrative skills,such as narrative,centering on the front story,and clever plot twists,are closely centered on the center.In addition,it focuses on the coherence and jumping of the plot,and uses family characters,daily life chores,and changes in the circumstances and circumstances of the characters as dramas.An important support for structural clues.