中国古代判词文体形成于西汉,成熟于唐代.宋代以来,一方面,因为社会经济快速发展,商贸活动兴盛,利益纠纷更多,诉讼案件和判词量激增,判词的书写更为官民所重视;另一方面,也由于印刷术发展,更多判词集得以传播.现存历代判词既有实判也有虚判,实判是古代判官审理案件的具结文书;虚判则范围较广,其中既有士子科举应考之作,也包含了宋元明清小说中插入的判词.无论是引经据典、文风缛丽的骈判,还是作为小说结构部分的判词,都具有明显的文学性特征.又因为判案官吏深受儒家教育,判案时注重维护人伦亲情,兼顾情、理、法统一,推崇息讼,向往无讼,判词反映了儒家思想的影响,法家书呈现出儒家化倾向.

宋代洪邁《夷堅志》是中國志怪小説史上的一座高峰,内容廣博繁雜,題材豐富,這些看起來虚幻離奇的志怪故事與民間信仰密切相關,折射出廣闊的社會生活畫面與社會衆生相.《夷堅志》記載了 167則福建故事,其中大量涉及福建民間信仰,包括動物神信仰、巫術信仰、佛道信仰、人格神信仰等多種類型.福建民間信仰淵源久遠,與該地山高林密、依山傍海的自然地理環境密切相關;而其在宋代得以迅速發展,則與佛、道兩教以及科舉文化的興盛密不可分.《夷堅志》的記載印證了福建民間信仰的豐富性和鮮明的地域性特徵.

罗烨《醉翁谈录》是宋元时期一部与说话艺术关系密切的传奇集和杂俎集,在古代小说戏曲研究中广受关注,但对其故事选编的地域特征,以及其中蕴含的文学地理研究价值,学界未曾关注.《醉翁谈录》中闽地故事大约占全书一半卷数,而且现存刊本基本可以确定为闽刻本,因此,宋代闽地经济文化的发展、特别是建阳刻书文化是其编刊背景.《醉翁谈录》的故事选材暗合了文学中心从黄河流域向长江流域发展而一路向南的区域流变规律,其中故事情节所呈现的人群流动反映了文化的时代特征和变化进程,表现了地域间文学交流的历史轨迹,对文学地理研究具有场景还原的文本内证意义.《醉翁谈录》作为文学发展史上的个案,或可启发新的文学研究方法和思路.

明代是小说发展的繁盛期,但是从现存刊本看来,明代前期一百多年少有小说刊刻,小说的创作和传播曾有一段长久的断层.这个现象多年来为学界所关注.文学发展有其复杂的内因和外因,其中,建阳书坊的刻书活动对小说传播乃至小说编撰的影响不可忽视.建阳书坊由于地域文化的原因,很早就在文体上、题材上、读者定位上形成了自己的特点,建阳书坊极少涉足文言小说即源于此.又由于官方文化管理政策和稿源的限制,明代前期的建阳书坊很少刊刻白话小说.建阳书坊的刻书和经营,对明代前期小说的传播和发展产生了重要影响.

齐裕焜先生半个世纪的小说研究成绩斐然.以类型为框架揭示古代小说发展规律,打破研究疆界贯通古今,精耕细读对作品进行深度阐释,对学术界的理论探讨保持冷静的思考和清醒的判断,齐先生的所有著作表现出历史认识、哲学思辨和诗性敏感、理性逻辑相结合的学术思维特点.齐先生为中国小说研究的进步作出了有力贡献,对当前的学术研究具有重要的启示意义.

现存《三国志演义》刊本出于建阳书坊者多.《三国志演义》建阳刊本具有明显的特征,如插图、按鉴、通俗化、花关索故事和“批评”等.建阳刊本特征的形成与建阳刻书的文化背景密切相关.建阳刊刻《三国志演义》的历史,表现了建阳与江南刻书风格逐渐融合的过程.

《精忠录》辑录岳飞生平史实与著述、历代朝廷褒典与文人赋咏等,是岳飞史事与岳飞故事流传过程中一部重要的资料选编.在历史研究和文学研究中多见学者论及藏于海外的李氏朝鲜铜活字印本,或许因为此书国内不容易看到,因此,学术界涉及《精忠录》的相关论述多语焉不详.事实上,中国国家图书馆和复旦大学图书馆各藏一部李氏朝鲜本《精忠录》,由于《中国古籍善本书目》未著录域外刊印本,所以,似乎少为学者所知;而且,还有另一种版本的《精忠录》,藏于安徽省图书馆,此本似乎未见学界关注.笔者在点校整理《精忠录》现存两种版本的基础上,结合相关研究,介绍《精忠录》见存版本及其流传情况,以及《精忠录》在岳飞资料汇编与岳飞故事传播中的意义.不揣浅陋,以求教正.

三国故事和关于三国故事的表演由来已久，至宋元时期已传播广泛。讲史之“说三分”与杂剧之三国戏为三国故事发展过程中的二种艺术形态，二者同生共长，关系密切。元杂剧之三国戏所演故事基本见于《三国志平话》，三国戏多截取平话中的一段故事改编而成，平话的全知叙事方式、人物性格形象、超越史传的艺术思维、以及尊崇刘备集团的叙事倾向等，都对三国戏的演述产生了重要影响。

Jianyang,which inscribed a lot of novels in the Ming Dynasty,was one of the three printing centers in Fujian province during the Song,Yuan and Ming Dynasty.Especially,the reign of Wan-li emperor is the peak of the novels inscribing.Geographical characteristics are obvious in the no-vels inscribing of Jianyang’s bookshop .In most cases,Jianyang’s bookshop inscribes vernacular novels and the theme of them are focusing on history,ghost,legal case and so on.Moreover,the characters below the pictures is the format feature of the novels.

Pitying My Sweet Companion is one of the Ten Songs of Fisherman written by Li Yu in the Qing Dynasty .It has always been believed to describe the Lesbians or Quasi-Lesbians of the ancient boudoir women .However ,reading the text ,and combining with Li Yu’s creation intention and drama theory ,we can know that Pitying My Sweet Companion was just a story of “a man and two women” ,which was a common love pattern in novel and opera ,and described two women’s friendship through a novel way ,but not a story of lesbian .

明代建阳书坊刊刻的嘉靖本《荔镜记》和万历本《荔枝记》,是陈三五娘经典故事现存最早的二个故事文本,为陈三五娘故事的传播提供了相对稳定的文本形态,可贵地保留了明代戏文演同一故事的不同形态,还原了戏曲史生动鲜活之一斑.二本戏文都经文人整理编集,但嘉靖本文本相对精致,既适合于舞台演出,又适合于案头阅读,而万历本文本较为粗糙,但更多保留了当时的演出形态.通过二个文本的对比分析,可见文人整理对于经典文本形成的作用,以及经典文本对于故事传播的意义.

Gao Yangvividly created a complex image Hu Xueyan in his novel The Biography of Hu Xueyan .By describing the ups and downs of Hu Xueyan’s life ,the novel broadly reflects the spe-cific times the historical figure lived in -the political and economic environment as well as the social culture and social life ,and explores the relationship between Chinese businessman with Chinese busi-ness ,Chinese political system and cultural tradition .T he novel contains a profound reflection on the success and failure of the business ,politics ,and national destiny ,which reflects Gao Yang’s pro-found knowledge of history .

《水浒传》简本向来被认为价值不高,但是,判断小说版本的价值一方面要看其文学价值,另一方面也要看其读者定位.各种简本在明清时代大量刊行,正说明简本所定位的读者群体长期存在.《水浒志传评林》是简本中很有代表性的一种版本,它不仅满足读者对小说基本情节和人物故事完整、配图和解说辅助阅读等接受需求,而且能从价格低廉上满足读者群的需求.因为读者阶层的丰富多样,简本乃至各类型改编适应读者需求而有其意义.

From Word and Expression,we can find that the word “man”has the meaning of “droopy eyelids”.There-fore,we can infer from CAO Cao’s nick name “A Man”that his eyelids might be droopy.In The Romance of Three King-doms,he is described as a man who has small eyes and long beard.In drama,CAO’s facial makeup is characterized by “star-ing”.Before Tang Dynasty,the name “A Man”was derogatory when it was not harmonious with the situation.After Song Dynasty,the word “man”began to take the meaning of “deception or lie”.Ever since then,such meaning has hardly been used.However,the names “A Man”and “CAO Man”has become quite usual.People have related the new meaning of“man”with the deceptive and foxy characters to CAO Cao,hence we can understand what the name CAO Man means.This is j ust in accordance to people’s inclination of supporting LIU Bei and opposing CAO after Song Dynasty.People have used such names to criticize his killing of MI Heng,KONG Rong,YANG Xiu and scandals of defeat in Chibi and Tongquetai.

There are different abridged editions and full editions of TheWaterMargin.The value of the abridged edition with a rough pattern mainly lies in the popular spread to satisfy the needs of readers from various classes. The value of the full edition lies in its delicate style which has led to a more appreciated reading of the novel over the past three or four hundred years , and provided a stable text basis for the wide circulation of the novel.A comparison of these two editions will show the different text forms and literary value of different editions caused by different readers positioning.

<正>一在西方一些小说中,对于人物,往往先列一个名单;对于环境,往往集中笔力作一详细介绍,有的甚至以相当长的篇幅静态描述某一建筑物甚至建筑物中一根柱子一把椅子,对于这样的叙述方式,很多读者没有耐心,往往跳过不读。《红楼梦》的写法与这类小说迥然不同。《红楼梦》集中国古典文学之大成,是中国古典小说叙

As a publishing center in ancient China,Jianyang County of Fujian Province produced a large amount of books that correlate with Zi Zhi Tong Jian.This publishing tide made a notable impact on the development of ancient Chinese novels,therefore,many historical works in the Ming Dynasty competed in delaring their correlation with Zi Zhi Tong Jian,and indeed,most of them were reproduced on the basis of the writing style of Zi Zhi Tong Jian in a more popularized way of wording.Although the artistic achievement of these works are compartively meagre,their pervasive emergence catered for the need of the readers and has contributed a lot for the development of Chinese novels in the Ming Dynasty.From the aspect of artistic and ideological evolution of novels,Anjian historical novels can be regarded as a necessary step for Chinese novels to achieve its refinement in artistic aspect and individual independence in the style.

戏曲在明代的大量刊刻,推进了戏曲的传播与发展,由于案头化的阅读,以及刊本对戏曲演出的规范作用,戏曲的刊刻事实上对戏曲艺术发展有着很大影响. 福建建阳是宋元明全国刻书中心之一,建阳书坊亦曾大量刊刻戏曲,今见标明刻书时间的刊本中,最早的是嘉靖癸丑(三十二年,1553)书林詹氏进贤堂刊本《新刊耀目冠场擢奇风月锦囊正杂两科全集》四十一卷,卷末牌记“嘉靖癸丑岁秋月詹氏进贤堂重刊”,则此前已有刊本,此为重刊.又嘉靖丙寅(四十五年,1566)余氏新安堂重刊本《重刊五色潮泉插科增入诗词北曲勾栏荔镜记》,书末上栏尚有“前本《荔枝记》”云云,可知此前已有《荔枝记》刊本.建阳刊本戏曲中今存更多的是万历以后刊本.

建阳刊小说有其明显的地域特征:从语体来说,以白话通俗小说为主,而较少介入文言小说的刊刻;从题材来说,多集中于讲史、神魔、公案三类题材,而极少艳情小说的刊刻;从作品类型来说,《三国志演义》、《水浒传》、《西游记》三大名著的刊刻与改编占了现存全部刊本的一半,且以简本为主,此外所刊小说多为书坊组织文人编撰,受典范作品影响,但艺术成就大体不高;从版式上看,现存三分之二的刊本为上图下文版式,图像雕刻大多比较粗糙。上述特征的形成,与明朝的封建统治能力和官方的政策导向、闽北地区的理学氛围与区域性文化特征、建阳的经济文化水平,以及与此相关的建阳书坊的经营策略等方面密切相关。

<正>语文出版社八年级语文上册《鲁提辖拳打镇关西》一文,选自《水浒传》金圣叹评改本。近年来有一些学者讨论《鲁提辖拳打镇关西》是否适合选入中学课本,认为"拳打"的场面描写过于血腥暴力,甚至认为鲁提