| Summary: | 碩士 === 國立雲林科技大學 === 漢學應用研究所 === 106 === The presentation of a tragedy manifests the importance of humanity projection and emotional connection in literature. Among the various versions of “Outlaws of the Marsh”, researchers focusing on “tragedy” are few because of the vague definition of tragedy and the difficulty to manage the scope of it. Even if there are some, such as Zheng Wenjuan and Pei Kang ’s Master’s Thesis , these two works still vary in the definition of tragedy for “Outlaws of the Marsh”.
The author of this thesis is aware of the fact that the majority of the journal articles to date lack a comprehensive analysis on “Outlaws of the Marsh”, while most theses only emphasize on “Outlaws of the Marsh”. Besides the inappropriate premise of “the West examining the East”, such phenomenon results in the recognition of “No ending, no tragedy” for Jin’s Outlaws of the Marsh , in addition to the chaos of tragic consciousness discussions on the already-with-an-ending “Outlaws of the Marsh”. The aforementioned situation has impertinently dislodged the mission of tragedy for bearing the pain of the ear as well as functioning as a gateway to emotional outlet.
The present thesis tries to investigate from the vantage point of thirty-six Heavenly Spirits , tackling on Zheng Wenjuan’s claim of “Jin’s Outlaws of the Marsh not to be tragic”, and offering some clarification, proof, and personal viewpoints. It is also hoped that, through the present thesis, the lack of Jin’s Outlaws of the Marsh’s tragic consciousness studies can be complemented.
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