| In ancient China, novels have always been two different styles academic style and storytelling style. Similar to storyteller’s scripts, the Guci novel is a style, born out of civil Talking and Singing Art, with the air of countryside and marketplace. However, the intended Guci is a category of the Guci Novel that has the darker manner of literati. Regardless of author, audience, or the text itself, it has a lot of difference with the Guci recorded. To get a better understanding of the concept of intended Guci, this thesis takes the nine intended Guci works issued by Shanghai Jiaojing Shanfang in the late Qing Dynasty for example and makes a deep analysis on the intended Guci from the aspects of background, book and the external form.Chapter1elaborates on the background of Shanghai lithographs intended Guci phenomenon in the late Qing Dynasty, mainly from the following three perspectives:the social background, the Guci inherent law of development, and the lithography development in China. It is believed that the intended Guci phenomenon was a joint action of both inside and outside elements, and its generation, development and prosperity could be seen as the afterlife of Guci, enjoying a profound social foundation as well.Chapter2aims to clarify the definitions of some related concepts concerning the research object and give a clearer outline of them. Firstly, Guci could be treated from two different perspectives, either as one kind of the folk arts or as the literature text. The former refers to the art form of rap, singing and narrating with the rhythm of drum beating, while the latter refers to the Guci lyrics and the reading text derived from them, including the Guci classic copies and the Guci novels. Intended Guci is one of the Guci Novel categories, and it is independent of the opera performance, instead, it is created mainly to be used for reading by the literati, targeting at the general public class.Chapter3is a research on Shanghai Jiaojing Shanfang in the late Qing Dynasty, mainly on the beginning and ending of this academy, location, main directors, and the fields it engaged in, and so on. Though the positive data are not enough and the discourse is relatively simple. This paper basically outlines the whole story of the academy. At the same time, a detailed description of the targeted nine intended Guci works has been made, setting a solid foundation for the main parts’writing of this paper.Chapter4is one of the focuses of this paper, exemplified by the nine intended Guci works from Shanghai Jiaojing Shanfan. It discusses the external form of books, including advertising, copyright, preamble, and gives a clear picture of the external features of the intended Guci and its unique characteristics in that times.Chapter5manages to do an internal research on the intended Guci, with both content and form concluded, and the strategy of exemplification is adopted. Through the deep analysis of the typical works, it is suggested that during this period the intended Guci works more often than not originated in some literary works from other genres. Further more, they are basically limited on the imitation of forms, and due to the diversified literary skills of different authors and their different ideological tendencies, these works are not at the same level with the original ones by way of complexity. General speaking, it was only a period of normalization for the Guci stylistic texts.Chapter6shows great sympathy to the tragic fate of the Guci again, and stresses that it is necessary to introduce the concept of intended Guci to the academic field and it is of great importance to make efforts on its research. |
