| This paper belongs to the area of Cultural Narratology theoretical knowledgesystem. It aims to use “2”,“3”,“5”,“7”,“36”,“72”,“108” and other scared numbers asa breakthrough point to research the components of characters in Water Margin.Tell from the overall structure, this article is divided into three parts includingintroduction, body and conclusion.The introduction part was divided into four parts: First, to determine the bestversion for Water Margin as the research object of this article and its reason.Second,introduce this paper used the combination of culture and narrative, hierarchicaldescription and theoretical analysis research method. Third, not only give a briefaccount of the research history for scared number, but also give scared number a newdefinition. Fourth, evaluate all research production form the perspective of scarednumber and Water Margin. Futhermore, we draw up a plan for this paper.The first chapter is<Cultural connotation and configuration interaction of scarednumber2and3>. Through trace back to the origin of scared number2and3, andinquire into the mysterious significance and cultural function of scared number2and3from “Scared number2and the concepts of Yin and Yang”,“Scared number2andmethod of bisection in space-time continuum”,“Scared number3and it’s Philosophicalcategory”,“The meaning of3when it as a unreliable figure”. At last, scared numbers2and3are cultural meta-code of Chinese traditional culture. On the one hand, someChinese ideograph relied heavily on2and3in the beginning. On the other hand, quitea few of scared numbers plays a significant role in nomenclature, structure, andnarrative discourse in all ancient Chinese heroic legend chapter-novel.The second chapter is<Scared number2and multiple of it in the area of WaterMargin’s components of character>. The chief task is to discuss the relationshipbetween scared number2and “double character” together with “ZheJiang SiLong”,“Shi JieDuShi”. In addition, we research the effection form “The character imagemolding”,“The characters come into being”,“how to set the fate of the characters” andother area. Then, make a conclusion form “The artistic structure”,“Intricate plot provided”,“Purpose expression” for the meaning of putting to use scared2andmultiple of it in the area of Water Margin’s components of character.The third chapter is <Scared number3and multiple of it in the area of WaterMargin’s components of character>. We point out the custom of “call name asnumbers” is an obvious phenomenon in ancient and Water Margin’s narrative world.Afterwards, we discussed (1+1+1)、(1+2)、(2+1) this three kinds of “Triode structure”in all figures in Water Margin’s narrative world. Meanwhile, as a result of the modelmultiple of3,“5heroes in ZengTouShi” and “5heroes in LiangShanPo” and other“The Savage Five” also use the perception of “worship the middle”.As far as the“Subject—antagonist—object” structure of Water Margin’s narrative world, is animportant performance for scared number3is a cultural meta-code in Chinesetraditional culture.The fourth chapter four is <The multiple of scared number2and3together withother scared numbers in the area of Water Margin’s components of character>. We pointout that X=(3×2)×n is the radical foundation for “36”,“72” and “108”. Afterwards, wediscussed “12heroes in JiangNan”“36Tiangang”,“72Disha” and “108heroes inLiangshanpo” carefully. In addition, we discussed four kinds of “The seven groups”and “28high-ranking military officers’ constellation” availably. Moreover, we give thevalue of aesthetic and artistic effects a discussion and analysis for the principle of usingscared numbers in the area of Water Margin’s components of character.The conclusion part included two main contents. On the one hand, we introducedscared numbers in the area of chapter layout, narrative discourse, the fabric of thecharacters and the plot Settings. On the other hand, we point out a question which beworth to continue research in “Cultural tradition—the real world—writer’s experience”structure, what is the relationship between scared numbers and Water Margin’snarrative world?... |
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