| The story of "Cheng-huang type" is a kind of story that was "homegrown" in China.This story type was born from the belief of City god,but broke through the bondage of the belief,showing the revelry poetics of gods,officials and folk.The story tells of the high gods being abused,beaten and driven away by mortals.City God God,the symbol of the official discourse system,was dethroned and demoted by the populace,and all the privileges,regulations,prohibitions,and absolute authority disappeared into the revelatory City God Temple.In the context of "City God",the boundaries between the people and the gods,between the people and the authorities,and within the people were broken,with each subject expressing his own voice and speaking equally and intimately.The folk truth is open,diverse,relative,and unfinished.The story does not end with the removal of City God,because the removal of the crown was breeding the coronation,and death was breeding the rebirth.The passion of renewal and alternation echoed in the story of City God,which contains the struggle of the lower class against the suffering reality and the pursuit of a happy life.The pursuit of liberty and equality,praise of blasphemy and praise of deviance,was the release of the vitality of the people at the bottom.The carnival of the story is the artistic expression of the bottom people in the civil society seeking spiritual rest through the story telling under the feudal official pressure.In short,it is a lively,open,anti-normal,taboo breaking,publicity freedom and infinite vitality of the humorous story type.This paper takes the story of Cheng-huang as the research object.The research of this paper highlights the literary value and poetics value of folk stories,explores the artistic quality of the oral language of folk stories,and reiterates the aesthetic charm and aesthetic character of folk stories.It is the initial attempt of the current folk story research to return to the study of poetics,and provides certain reference for the study of the discipline context of story poetics.This article has three parts:The first part is called the prologue.Firstly,the significance,purpose,content,method,key and difficult points and innovative points of the research are expounded.Secondly,the research status is reviewed.The study on the story of "City God" is inseparable from the study on the belief of City God.Generally speaking,the stories about "city god type" belong to the "City God story" category.At present,academic circles have made great progress in the study of City God story,but there is still a large space for the study of City God story.Finally,various historical documents are used to review the development process of City God God belief from "natural God belief" to "social God belief",which serves as the premise and basis for the study of the story of "City God".The second part is the main part of the thesis,including three chapters.The first chapter is the general situation of "Cheng-huang Type" story.This chapter first longitudinally sorts out the origin and evolution of the story of "Cheng-huang type".As early as in the Wei,Jin,Southern and Northern Dynasties,there was the prototype of this story.The Ming Dynasty was the period of great development of the story of "Chenghuang type".The Qing Dynasty "Cheng-huang type" story entered a flourishing period,and this story type is still told today.Secondly,it expounds the interaction between the story of Chenghuang God and the belief of Chenghuang God.The change of belief leads to the change of legend,and the decline of belief must be reflected in the oral literature of the people.Finally,through the collection of more than 60 different articles,we trace the spread of this story type.It is found that the story originated in Jiangsu and Zhejiang provinces and gradually expanded to East China and central China,so that it became the whole country.The second chapter is the subtype and motif research of "Cheng-huang Type" story.Firstly,from the perspective of typology,two subtypes of "child prodigy teasing type" and "common man beating and scolding type" are summarized.Secondly,according to the three stages of "kicking out" city god god,eight themes were extracted,such as "the presence of the divine boy,the secular dispute,the trial of city God God,the drama within the drama,city God god’s dream,city God God’s replacement,city God God’s relocation of the temple,city God God’s humiliation",and so on.The core plot was analyzed.The third chapter is the revelry poetics research of "City God type" story.From the perspective of cultural poetics,this chapter makes a poetical analysis of the story of "Cheng-huang" type,and investigates the spiritual state of the lower class people under the background of folk Cheng-huang belief and official politics in the Ming and Qing Dynasties.At the same time,it goes deep into the text of the story to discuss the construction of the carnival system of the story.The hope is that the combination of internal and external outline the story of the city god told the carnival context.With the background of the official belief in city God and the decay of the feudal bureaucracy,the story of Cheng-huang(city God)boldly depicts the carnival plot of the people at the bottom of the earth resisting the divine authority and demoting the God.The story contains the double structure of carnival poetics: the carnival image of coronation and uncoronation,the carnival language of vows and blessings,and the carnival space of temple and earth.At the same time,the profound dialogue of the text is hidden in the three carnival systems of the story: the carnival of humanity is the dialogue between people and themselves,the carnival of man and god is the dialogue between officials and the people,and the carnival of the crowd is the dialogue between people among the people.In these dialogues,all hierarchical things were degraded,and the people were freed from the weight of the hierarchical order.They could swear to God,insult and ridicule,and thus the fresh vitality of the people burst out.The third part is the conclusion and appendix of the thesis.The conclusion summarizes the research results of this paper and the poetical characteristics of the story of "Chenghuang type",and puts forward the shortcomings of this paper and places to be improved.This paper takes the story of "Huang Cheng-huang Type" as the object of literary aesthetics,analyzes it from the perspective of Bakhtin’s cultural poetics,highlights the aesthetic emotion and narrative experience of this story,and focuses on the fantasy world and humorous world presented by this story The appendix presents the structure of the two subtypes of "Cheng-huang Type" story in the form of a table. |
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