元曲中的泰山神——日本上村幸次相关研究述评
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摘要
上村幸次是日本近现代汉学研究的著名学者,其论文《元曲中所见二郎神与泰山神》发表于1933年,以中国文学中元杂剧为考察对象,研究其中关于二郎神、泰山神等民间信仰内容的剧目。其论文从文献方面考察了二郎神、泰山神信仰的形成与发展,关注了相关剧目中神灵信仰的情节描写,视点独特,考证详实。但对泰山神的考察研究稍显独立,未指出神灵信仰在传承过程中出现的职能转变等现象背后有着同一的社会背景。
Uemura Kouji was a famous scholar on the Modern Sinological Studies. The paper"Erlang God and the God of Mount Tai"in Yuan Drama was published in 1933. This paper takes the Yuan Drama in Chinese literature as the study object, and studies the plays about Erlang god, the god of Taishan and other folk beliefs. In this paper, the formation and development of Erlang God and the God of Mount Tai are investigated based on literature. It focused on the plot description of religious belief in some Yuan Dramas. The viewpoint is unique and the research is full-scale and accurate. However, the study on the god of Taishan is somewhat independent, and it does not point out that there is the same social background behind such phenomena as the functional transformation of the god belief in the process of inheritance.
Uemura Kouji was a famous scholar on the Modern Sinological Studies. The paper"Erlang God and the God of Mount Tai"in Yuan Drama was published in 1933. This paper takes the Yuan Drama in Chinese literature as the study object, and studies the plays about Erlang god, the god of Taishan and other folk beliefs. In this paper, the formation and development of Erlang God and the God of Mount Tai are investigated based on literature. It focused on the plot description of religious belief in some Yuan Dramas. The viewpoint is unique and the research is full-scale and accurate. However, the study on the god of Taishan is somewhat independent, and it does not point out that there is the same social background behind such phenomena as the functional transformation of the god belief in the process of inheritance.
引文
[1]上村幸次.捜神記私考[J].大谷学報,1940,21(4),75-88.
[2]山口大学三十年史编集委员会.山口大学三十年史[M].(日)山口:山口大学,1982.
[3]上村幸次.中国古代の喪俗毀宗に就いて[J].山口商学雑誌,1947,18(2),30-39.
[4]上村幸次.中国古佚の二つの笑話集に就いて[J].山口大学文学会誌1951,2(1),87-95.
[5]上村幸次.元曲に見ゆる二郎神と泰山の神に就て[J].大谷学報,1933,14(3),118-135.
[6]根山徹.牡丹亭还魂记汇校[M].济南:山东大学出版社,2015.
[7]邵珠峰.泰山神庙剧场概述[J].泰山学院学报,2014,(4):23-28.
[8]李涵闻.明传奇中的神祇表现问题研究[D].开封:河南大学硕士论文,2014.
[9]宁希元,校点.元刊杂剧三十种新校(上下册)[M].兰州:兰州大学出版社,1988.
[10]周郢.东岳庙在全国的传播与分布[J].泰山学院学报,2008,(2):17-29.
(1)上村注:玉杯珓是一种占卜法,在宋代程大昌撰《演繁露》中有相关说明。
(2)本文所引用两出剧目原文均依据宁希元校点《元刊杂剧三十种新校(上下册)》(兰州大学出版社,1988年)。其中,张国宾撰《相国寺公孙汗衫记杂剧》收录于上册(211页-223页),无名氏撰《小张屠焚儿救母杂剧》收录于下册(229页-247页)。
[2]山口大学三十年史编集委员会.山口大学三十年史[M].(日)山口:山口大学,1982.
[3]上村幸次.中国古代の喪俗毀宗に就いて[J].山口商学雑誌,1947,18(2),30-39.
[4]上村幸次.中国古佚の二つの笑話集に就いて[J].山口大学文学会誌1951,2(1),87-95.
[5]上村幸次.元曲に見ゆる二郎神と泰山の神に就て[J].大谷学報,1933,14(3),118-135.
[6]根山徹.牡丹亭还魂记汇校[M].济南:山东大学出版社,2015.
[7]邵珠峰.泰山神庙剧场概述[J].泰山学院学报,2014,(4):23-28.
[8]李涵闻.明传奇中的神祇表现问题研究[D].开封:河南大学硕士论文,2014.
[9]宁希元,校点.元刊杂剧三十种新校(上下册)[M].兰州:兰州大学出版社,1988.
[10]周郢.东岳庙在全国的传播与分布[J].泰山学院学报,2008,(2):17-29.
(1)上村注:玉杯珓是一种占卜法,在宋代程大昌撰《演繁露》中有相关说明。
(2)本文所引用两出剧目原文均依据宁希元校点《元刊杂剧三十种新校(上下册)》(兰州大学出版社,1988年)。其中,张国宾撰《相国寺公孙汗衫记杂剧》收录于上册(211页-223页),无名氏撰《小张屠焚儿救母杂剧》收录于下册(229页-247页)。