歐麗娟2006-07-252018-05-292006-07-252018-05-292003-07-31http://ntur.lib.ntu.edu.tw//handle/246246/4419本研究採用「立體分析∕圓形人物」的角度，旨在突破一般扁平化、單一化的人物討 論，對《紅樓夢》中的人物與情節提供不同的詮釋方式或觀照角度。此種立體的分析角度 應能夠在傳統的人物論之外，對「人性」之內涵提出更精微透闢的闡發，進而使《紅樓夢》 的意義與價值更形豐富而寬廣。 由此所產生的兩篇專題論述中，於〈《紅樓夢》中的「石榴花」——賈元春新論〉一文， 將元春之代表花重新加以審定，在聯繫書中其他「有意味」卻被忽略的情節，並參照歷代 詩文的相關指涉之後，可以充分確立其真正的代表花與象徵意義;同時更進一步分析元春 之母神地位，以及有關釵黛取捨之深層意涵。另外〈劉姥姥論──《紅樓夢》中的狂歡詩 學〉一文，則以小說學中的圖式概念探討劉姥姥之存在功能，同時透過巴赫汀的對話理論， 以「嘉年華廣場人物」分析其中狂歡詩學的豐富內涵。three-dimensional analysis and in the viewpoint of round character. I content that so far the criticism of figures in The Dream of the Red Chamber, though extensively cultivated, tends to be intensively influenced by the concerns of “who the better: Pau-ch’ai or Dai-Yu?”. Consequently, many conventional interpretations are simplified and partial. Consciously adopting a methodological innovation, I specifically investigate two figures, Uan-ch’uen and Old woman Liou, to illustrate my contention and proposal. In the study of Uan-ch’uen, I identify her symbol-flower: the flower of pomegranate (not night-blooming cereus) and analyze her structural status as Great-Mother in the whole story by incorporating her characteristics. In the study of Old woman Liou, I analyze the well-known episode of Old woman Liou as a 2 hour-glass shaped structure. Contrasted with Bakhtin’s discussions about carnival, the episode is illuminated in a deeper level.application/pdf264588 bytesapplication/pdfzh-TW國立臺灣大學中國文學系暨研究所紅樓夢人物論立體解析賈元春石榴花母神崇拜劉姥姥狂歡詩學the Dream of the Red Chamberround characterUan-ch’uenGreat MotherOld woman Lioucarnival poeticsreporthttp://ntur.lib.ntu.edu.tw/bitstream/246246/4419/1/912411H002058.pdf