Dissertations / Theses on the topic '"zajui"'

碩士<br>國立中央大學<br>中國文學系<br>103<br>The study is “The Mother Images of Yuan Zaju”, which is based on ”Full Yuan Drama” edited by Jia-Luo Yang. The method used in this paper is known as “text reading”, include many different angles such as Chinese classical thoughts , perspective of sociology, family history and woman’s history. Research purpose is to rich the studies of Yuan Woman Image, and to shape the mother images concretely, knowing it’s uniqueness and innovations. By my research result, I found Yuan Zaju is the key watershed which made mother images from vague to concrete. We already knew that Yuan Zaju is inclusive of everything, full of human nature; and the key to have this feature because the imperial examination system was abolished, many talent people devoted to the drama creation, projected their self-solicitude into it, moreover, created more and more vivid portraits.Observe from the society factor, Mongol Yuan culture had a lot of impact on society, in particular to show as the following: class differences, social norms and laws, discipline and ritual. And these aspects indeed restricted female from the outside to inside, affected the destiny and situation of the mother figure in Yuan Zaju. Since the mother dan plays (which means Zhengdan is a mother) can show much more mother images, this research use 13 mother dan plays as the main object, including Wang mother of "The Butterfly Dream" , Chen mother of "Chen Mother Church child", Wang sister and madam Liu of "Five Marquis feast", Li daughter of “Over the Wall”, Yang mother of "Rescue the Dutiful son", Zhang Haitang of " The Record of the Chalk Circles", Tao mother of " Haircut to Entertain Guests", Li Qian-Jiao of " Dispute of Gratitude ", She Taijun and elder royal aunt of "Xie Jinwu" , Liu mother and Zhang Sangu of "Sellers Dan", Meng mother of "Meng Mother moved Three Times", Zheng mother of "Female Bachelor", Li mother of "Check the Golden Circle", for whom as representatives of the positive mother image groups. This paper analyzes the theme and keynote of the plays, classified as family drama, social legal case drama and other subjects, and described the significance of mother images from these themes. First of all, review and analysis mother images by the lyric and narrative literature, in order to construct the positive mother images in Yuan Zaju. These images can be divided into wise mother with bringing up her children properly, stepmother with personal loyalty to raise her children, loving mother with treating her children gentle, and other mothers with one merit. Next, we will discuss negative mother images, the opposite for the positive mother images, which is also including four types: Strict mother with preventing children’s marriage, bawd with forcing harlots to work, stepmother with child abuse, mother without chastity and personal loyalty. These negative mother images usually appears as supporting roles, and the most typical representatives include old madam of "The Story of the Western Wing ", Li mother of "Bend of the River", Hsiao E of " Frigid Kiosk" and "The Man Return to Prison", Ma wife of " The Record of the Chalk Circles", etc. They ignored their own children’s wish, interfered children marriage; even didn’t care the motherhood. They pushed and also hurt their children, and therefore not deserving of respect status as a mother. However, more importantly is the Yuan scholars intended to represent the society problem by the dramas, no matter its from positive or negative mother images. And these issues are also what we would like to be discussed, such as taking care of children by widowed mother, the dichotomy dilemma of taking both considerations of loyalty and filial obedience for mother, fighting over the estate, and marriage for the interests. The social unrest phenomenon was due to the central plains broken families, there were many widows and orphans, and even the phenomenon of selling child, family relationships under attack; the other is the socio-economic development, people increasingly pay attention to private property, resulting in fighting over the estate and the interests of the separation of marriage and so on. In conclusion, Yuan Zaju, as a representative of the Yuan Dynasty literature, values and contributes their mother images from the following four aspects: First, social values: positive image of the mother is not only able to change the habits increased more human relations and also the human beauty. It is a major force behind female education. Second, historical references: the official history of the women's records is very scarce, mainly described the chaste wives and paragons. Yuan Zaju left vivid images footnote to contemporary mothers, they are also mind's history of Yuan Scholars; it Third, the artistic image: from Liu Xiang’s "The Biographies of Women" began, mostly to emphasize female virtue, such as determined and obedient, capable and intelligent, mother images in Yuan Zaju is showing diverse personalities, including capable and intelligent, principled and righteous, tender, and even show a strong determination. At the same time, the playwright also created a lot of negative images for the contrast, to alert the world to achieve enlightenment purposes; Fourth, handed down contribution: mother dan plays of Yuan Zaju not only have a profound impact on future generations, mother Image also affected the evolution and differentiation of Dan row, so the mother roles formally appeared in the opera stage at the first time, also made a place in Chinese opera history.. In summary, the mother images of Yuan Zaju is the Yuan scholars reflection, the reflection of whole society, represents the tears from that history, just like the congealed amber, which is deserved our continued appreciation and exploration.

碩士<br>淡江大學<br>中國文學系<br>90<br>Abstract: A binding relationship often exists between religion and drama. This is particularly true to traditional Chinese plays and dramas due to the complex socio-cultural environment of the Chinese society and to the fact that religion is indispensable to the Chinese people. This thesis is to provide an in-depth analysis on Za-ju, through an investigation of the socio-cultural environment and the playwrights’ personal experiences which manifested the work. The goal is not only to affirm the influential position of religious Za-ju of the Ming dynasty in the Chinese culture but also to confirm its contribution and positive impact on the Chinese society as a whole. An outline and a short summary of each chapter in this thesis are presented below. The first chapter, “Overview of Religion in the Ming Dynasty,” is an introduction to the religious, political, and social background of the Ming Dynasty. The second chapter, “The Origin of the Ming Religious Drama,” is concerned with the fact that Ming’s religious plays were not an imitation of those presented in its predecessor, Yun Za-ju. In fact, playwrights often injected tremendous amount of their unique emotions, sentiments, and religious insights. creating a harmonious consistency among the play, the playwright, and the socio-cultural environment from which the play was originated. Chapter three, “The Motivation and Purpose behind Ming Drama Creation,” reports that playwrights often expressed their bitterness toward life in plays. Some revealed without constraints their displeasure with the contemporary social and religious disturbance, while others took the opportunity to preach and to share their religious insights with readers. Finally, the fundamental purpose of Za-Ju was entertainment, since religious plays were often performed as an important part of the ceremony at the local temple honoring gods or goddesses. Chapter four and five, “Themes of Ming Za-Ju,” reports an analysis on the content of original Za-Ju scripts. The wide variety of themes can be put into six themes, including (1) releasing from earthly boundaries (2) encouraging ethical living (3) the supernatural (4) celebrations (5) sarcasm and analogies, and (6) miscellaneous themes. The result from this analysis indicates not only that Za-Ju has a rich variety of themes but also that there are real values for its existence. Chapter six is “Ming Za-Jus Contribution to the Chinese Literature and Fine Arts.” From the perspective of Chinese folklore, this chapter investigates the design of characters, songs, dialogues, and scripts in religious plays. Of the focus here is Za-Jus’ contributions to Chinese literature and fine arts. Chapter seven, “Conclusions,” ends the discussion by pointing out the functions that Ming Za-Ju played in the society at the time. In short, Za-Jus were often used for the following purposes: (1) fantasying leaving the earthly living and being promoted to a godly position, (2) playing a part in religious celebrations and ceremonies, (3) repelling evils and misfortunes in the real life. These functions clearly reflect the disturbance and unsettledness in the minds of the general Chinese people under the extreme feudal system at the time. Thus, the popularity of Ming Za-Jus indirectly confirms the importance of religion in stabilizing the mind of the general public and the socio-political situation in the society as a whole.

碩士<br>國立臺灣大學<br>中國文學研究所<br>106<br>This study explores Zaju Sanji (雜劇三集) and the background of its compilation, including how it was edited, how the selected compositions were written, and how the collection presented the authors and editors’ reflection on their era. By investigating the time and regional background of Zaju Sanji, the collective memories behind the collection were observed. How the memories of the author were embodied in the composition, how readers are able to relate to the authors’ personal experience by reading the pieces, and how these memories expand externally into the connection between the authors and editors were discussed in the observation. This study consists of three chapters. Chapter one investigates the compilation of Zaju Sanji and the influence of the authors and editors’ social interaction. Building on the foundation of preceding literature, this chapter outlines more comprehensively the authors and editors’ social network by exploring the previously unnoticed influence of Donglin Party (東林) and Fu Society (復社). The editors’ intention were also explored by inspecting suspicious aspects of the compilation. Chapter two and three are text analysis, which investigates of the evolution and development of Zaju from late Ming Dynasty to early Qing Dynasty by dividing the pieces into three chronological groups according to the time of their composition: late Ming, Ming-Qing transition, and early Qing. The objective of this study is to contribute to the academic archive of Zaju Sanji and suggest future avenues for research on Ming and Ming-Qing Zaju history.