| （摘要内容经过系统自动伪原创处理以避免复制，下载原文正常，内容请直接查看目录。） 格林童话故事一向以来遭到全球国民的爱好，《灰姑娘》作为个中的名篇更是被翻译成多国文字广为传播，而很少有人晓得早在灰姑娘出生的一千多年前，中国的笔记体志怪小说《酉阳杂俎》中也涌现了如许一名灰姑娘一叶限。最近几年来中国粹界对《叶限》的研究兴致有增无减，但少有文章从叙事学角度对中德两版灰姑娘的叙事文本停止比拟剖析，从而挖掘其面前隐蔽的分歧的论述措施及价值不雅。本文以构造主义叙事学为主体框架，从故事和论述两个层面临灰姑娘的这两个版本停止周全而深刻的比拟。注释第一部门借用平易近俗学的母题略论《灰姑娘》和《叶限》中配合的五个根本母题，并对人物抽象停止一一比较，发明《叶限》在创作中受释教“因果报应”不雅念的作用，德语论文范文，崇尚善恶有报；而《灰姑娘》的创作浸淫于基督教的原罪与解救的宗教不雅，崇尚美德有报。另外，德语论文题目，《叶限》和《灰姑娘》中女主人公在转变本身生涯处境时的自动与主动凸显了中国与东方文明的差别，即：中国人的美德是静的美德，主意宽和和婉、满足常乐；东方人的美德是动的美德，主意愿望悲观、朝上进步不懈。陀汗王运用强权占领叶限与鱼骨表现了中国封建社会“家世界”的思惟和皇权年夜于人权的不雅念，而王子依附小我才能保持不懈地寻觅心动女孩的情节则表现了东方国度小我本位的价值不雅。接着注释第二部门运用格雷马斯叙事语法里的六年夜行为元逐一剖析《灰姑娘》和《叶限》中的人物脚色，发明固然《叶限》的重要人物数量与《灰姑娘》简直持平，然则《叶限》触及的事宜更加多样，出现出的人物静态关系更加庞杂。本文彩用文本细读的措施，总结出《灰姑娘》的论述构造属于三段式，《叶限》的论述构造属于因果式。经由过程灰姑娘型故事中论述身份的考核，可以挖掘出《叶限》的叙事形状属于典范的传述，论述者表示为显性；《灰姑娘》秉持模拟的叙事传统，论述者藏匿在文字面前，表示为隐性。最初，就《灰姑娘》和《叶限》及它们分属的两年夜体裁一童话与笔记体志怪小说的叙事特点停止了具体比对，得出结论：《叶限》的叙事作风崇尚繁复；《灰姑娘》稍显繁复，有着丰硕的论述技能，构成了比拟成熟的叙事作风。 Abstract: Grimm fairy tales always been global national interests, "Cinderella" as a medium of the famous is be translated into multiple languages is widely spread, and few of us know as early as Cinderella was born more than a thousand years ago, Chinese Notes body novels "Youyang miscellany" has also appeared in the limit of such a Cinderella leaf. In recent years Chinese pure interest in the study of the leaf limit "unabated, but few articles from the perspective of narration of Chinese and German version of Cinderella narrative text stop comparative analysis, and mining methods are discussed and the value of the hidden before the divergence of the indecent. In this paper, the structure of the narrative as the main framework, from the story and discusses the two layers of Cinderella's two versions of the comprehensive and profound comparison. Notes in the first sector borrowing folk science the motif of "Cinderella" and "leaf limit" with the five fundamental motif analysis, and the character image is one, invented the leaf limit "in the creation by the concept of Buddhism" karma "indecent effect, advocating that good will be rewarded with good; and creation of" Cinderella "steeped in Christian original sin and salvation religion indecent, advocating virtue is reported. Also the leaf limit "and" Cinderella "the hostess male itself career situation in automatic and active highlights the difference between Chinese and Western culture, namely: Chinese is static virtue, mind width and complaisant, contentment; Oriental is the virtue, idea desire pessimistic, enterprising unremitting. Tuo application of Khan power occupied leaf limit and fishbone shows the Chinese feudal society "home world" thought and Imperial College in the human rights of indecent read. Prince according to the elementary school, I was able to keep unremitting seeking heart girl plot represents the ego oriental nation standard value of indecent. Then comments the Department applying Greimas narrative grammar of the eve of the six behavior element analysis one by one "Cinderella" and "leaf limit" in the character role, invented important characters and number while the leaf limit "and" Cinderella "is almost flat, however the leaf limit" touch matters more and diverse, showing the characters static relationship more complex. The color with a close reading of the text, summed up the "Cinderella" discourse formation belongs to the three section type, the leaf limit "of discourse formation belongs to the cause and effect. Through the process of the Cinderella type story describe status assessment, you can dig out the leaf limit "narrative shape belong to typical narrated and discussed said is dominant;" Cinderella "uphold the simulation of traditional narrative, the arguer hiding in front of the text, said the recessive. Initially, they "Cinderella" and "leaf limit" and they belong to two of the eve of the genre a fairy tale and notes body novels narrative features stopped specific comparison, draw the conclusion: the leaf limit "of the narrative style advocating complex;" Cinderella "slightly complicated, fruitful discussion skills, formed a relatively mature narrative style. 目录: |
