《西遊記》的「風」研究

• Main Author: 蔡享宏
• Other Authors: 簡文志
• Format: Others
• Language: zh-TW
• Published: 2014
• Online Access: http://ndltd.ncl.edu.tw/handle/u4zsps

碩士 === 佛光大學 === 中國文學與應用學系 === 102 === The wind narrative passed through entire novel , learn the story would lost narra- -tive momentum without it. This research cared about the meaning , weathering and power of the wind narrative by text reading, classification statistics, and theoretical analysis. Thus Revisited the modern and local reception of the “Journey to the West” in Taiwan. The writer used “Monkey” to belittle the God and Saint in ascent and falling narrative structure. God and Saint were homing when learner’s mind successful. All of the credit, courtesy, filial piety, truthfulness in Confucianism were argued and added by the wind narrative. The superstition of Taoism’s talisman and dietary regime were broken. The writer made use of Zen to elaborate the energy of life and garbled the line between Buddhism and Taoism. The Chinese medicine and Taoist practice converged gradually. The knowledge of wind and disease highlighted the truth of the mind practice and heaven. The weathering narrative made much changeable. “Blowing promoted breeding” created all things on earth. Variation induced something special hurt and war. The Gods enlightened with flying oracle. The ghosts bringed cold wind to maintain justice what they hoped. The wind blowed through the narrative space which form was branches, linear affine, spiraea. Every Monster’s field would be a series of learner’s Chains. Every deform of role always was a metaphor. Banshee deformed in order to hint monk’s practice. Whether the form change to be anyone, Fairy or Buddha all exist in people’s mind. Wind power narrative made reader suprised when natural wind was written in fiction, the wind shuttled in the narrative space. The dialogue field was separated by screen. The convection was the metaphor what the fire of avarice encountered the epiphany. All of the incense wind, fishy wind, cold wind, or hot wind, each of them stand for good or evil style. Downwind was brisk but danger. Headwind was wild who monkey exclaimed “great fortune” predicted obstr- -uct or war. When the whirlwind lift people away, it meant stalemated. Wind blow up, everything moved. Wind blow down, something static. The narrative was brewed by still wind. The breeze existed between dynamic and static. Fast wind flited circumst- -ances. When fierce wind approached, the story would appear severing or fighting. The wind narrative show it’s self senses of speed, rhythm, and devastating. Research the wind narrative of “Journey to the West” in Taiwan Peking opera, Taiwanese opera and puppet, print, painting, carving, we could find the morden and local accepting overview. The person in field inspection furnished props and sound of wind narrative in order to show the arts of wind narrative. All of the opera merged which traditional martial arts, symbol actions and singing and that morden dance, theater, light, audio soundtrack together. Taiwanese puppet used simulation, blowing-action and blue-and-white long cloth made wind narrative. The Gold puppet was fashionable so far. There were dynamic line in all of the print, painting. Some religious enlightenments and mystery existed in Taiwanese print arts. There were a lot of lines of beauty In Pu Ru “Journey album”. If artist created an art that conformed original idea, he who understood really wind narrative. Key words: Journey to the West, wind narrative, weathering narrative, wind power narrative.