Laugh and Dame：《Luh Yay Seen Tsung》Ping-Dain Study

• Main Authors: Wang Chiung-Ju, 王瓊茹
• Other Authors: Yang Yu-Chen
• Format: Others
• Language: zh-TW
• Published: 2008
• Online Access: http://ndltd.ncl.edu.tw/handle/40409612542857963292

碩士 === 國立暨南國際大學 === 中國語文學系 === 96 === The thesis is entitled “Laugh and Damn: Ping-Dain on Luh Yay Seen Tsung”, which was written in terms of the multidimensional aspects during the Mid-Chin Dynasty. This novel mainly features its own personal critiques. Moreover, the thesis aims to shed light on the critiques between the texts of the novel. There are two dimensions worth noticing. One is laugh; the other is damn. Both of them embody the carnival of Bakhtin’s theory and possess the power of subversion and liberation. Critics, in fact, are a group of unofficial intellectuals illustrating the hilarious folk cultures between the texts in Luh Yay Seen Tsung, ranging form laughter, diet, excretion, discoronation, grotesque to filthy languages. The analysis of laughing theory and the culture of foul languages can reinforce another dimension of novels in Chin Dynasty. Overall, the thesis consists of six chapters. Chapter one first interprets its motivation, meanings and the significant reviews of the study. It briefly reveals the analyses of the version and genre in Luh Yay Seen Tsung. Furthermore, it demonstrates the theories and methods employed in the thesis. Chapter two introduces the critics’ critiques that are irrelevant to novel texts, further probing into the similar life experiences and perspectives about the author and critics. Eventually, it respectively deals with critics’ world perspectives on the behalf of the middle and low class. Chapter three discusses the narrative theory of Master Chin Sheng-Tan, inclusive of the narrative manners. Chapter four revolves around the laugh in the critiques. In addition, Bakhtin’s carnival theories elaborate excretive literatures, dietary meanings, analyzing the representation of laughter in the critiques. Chapter five lays emphasis on the foul languages and irony, including humorous implications of grotesque body, excretive critiques and a great number of filthy languages. All this is characteristic of Luh Yay Seen Tsung. Chapter six is the conclusion, further establishing Luh Yay Seen Tsung as the historical meaning.