Zhuangzi: The Essential Writings, with Selections from Traditional Commentaries – By Brook Ziporyn
Zhuangzi: The Essential Writings, with Selections from Traditional Commentaries – By Brook Ziporyn
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庄子：经典著作（传统注释选集）——作者：Brook Ziporyn
DOI：
10.1111/j.1748-0922.2009.01373_9.x
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发表时间：
2009
期刊：
影响因子：
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通讯作者：
Jeffrey L. Richey
中科院分区：
文献类型：
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作者：
Jeffrey L. Richey
在这部开创性的著作中，郭解决了中国社会如何成为儒家这一极其重要但却被忽视的问题。他通过研究儒家价值观对戏曲的渗透来做到这一点，戏曲是徽州最受欢迎的娱乐形式，徽州是中国晚期经济最发达的地区之一。 1582年，该地区的考生郑智深写下了第一部关于佛教孝子目连的长篇礼剧剧本；不过，在这样做的过程中，他将这个故事变成了一个倡导儒家思想的流行形式的故事：神和鬼魂监视人们的行为并执行儒家规范。这部深受人们喜爱的歌剧的所有后续版本都继续宣扬同样的道德话语。郭认为，这种转变发生在惠州，是因为儒家思想吸引了该地区的士绅化商人。一方面，徽州商人希望通过接受上流社会的儒家思想来提高自己的社会地位；另一方面，他们认为儒家对女性贞操的重视是让妻子在长期外出期间保持良好举止的一种手段。郭巧妙地指出，商人利用儒家思想来保护他们的家庭，但他们自己的物质主义和享乐主义却常常削弱他们试图建立的社会秩序。尽管郭未能提供徽商确实赞助目连戏的“确凿证据”，但他收集了大量间接证据，使他的论点极具说服力。
In this path-breaking work, Guo addresses the overwhelmingly important but neglected question of how Chinese society became Confucian. He does so by examining the infiltration of Confucian values into opera, the most popular form of entertainment in Huizhou, one of late imperial China’s most economically advanced areas. In 1582, a failed examination candidate from this area, Zheng Zhishen, wrote the first full-length script of a ritual opera about the Buddhist filial son Mulian; in so doing, though, he transformed the story into one that championed a popular form of Confucianism: one in which gods and ghosts watch over people’s behavior and enforce Confucian norms. All subsequent versions of this beloved opera continued to promote this same ethical discourse. Guo argues that this transformation took place in Huizhou because Confucianism appealed to the region’s gentrifying merchants. On the one hand, Huizhou’s businessmen wanted to enhance their social standing by embracing the upper-class ideology of Confucianism; on the other hand, they viewed the Confucian emphasis on female chastity as a means to keep their wives well behaved during their long sojourns away from home. Guo deftly notes that the merchants employed Confucianism to preserve their families, yet their own materialism and hedonism often undercut the social order they were trying to establish. Even though Guo fails to produce “the smoking gun” evidence that Huizhou merchants actually sponsored Mulian operas, he has marshaled so much circumstantial evidence to make his case extremely convincing.