The Edition Research, Transmission And Adaption Of Qi-u Hai Tang By Qin Shou’ou

Dubbed as "the first romance novel of the republic of China (1912-1949)" and “thefirst tragedy” of the old Shanghai, Qiu Hai Tang, written by Qin Shou’ou, has alreadybecome a representative work with extensive influence in the history of modern Chineseliterature, especially during Shanghai isolated island literature period (1937-1942). Thetalented and romantic characters in Qiu Hai Tang have been given full play to from thenovel being serialized in Spring&. Autumn, supplement to Shen Daily, to the later separateedition and the adaptation of various art forms, and from the paper to the stage, and then tothe screen.However, the research on Qiu Hai Tang has been mostly limited to novel textanalysis so far. No systematic and comprehensive academic research has been carried outon the elegance color of the novel or the deep cultural significance hidden behind theadaptation and the dissemination of the novel. The thesis aims at systematically making apreliminary study on the elegance color and potential cultural significance of Qiu Hai Tang,hoping to make a contribution to the transmission and development of the novel.The thesis consists of three chapters. The first chapter gives a brief introduction to thethree versions of the novel. The aesthetic ideology of Qin Shou’ou’s creative works isdiscussed from the aspect that the leading characters in the novel cannot escape from thedeath fate. It is the foundation of Qin Shou’ou’s writing to lay emphasis on authenticity,which can be easily seen from the complete "destruction" of love and the ending of partingbetween lovers. The second chapter adopts the method of comparison in the discussion,selecting the four works greatly related to the novel for discussion to view the charm andelegance color of the novel. Section I chooses Feng Xue Ye Gui Ren by Wu Zuguang andcompares the three aspects, namely, subject choice, narrative pattern and imagepresentation, of the two novels, to show different choices made by authors in the samehistorical background and different techniques of expression adopted in similar materials, etc. Section II selects New Qiu Hai Tang by Zhou Shoujuan, Mei Bao by Qin Shou’ou andThe Story of Three Loves by Zhang Henshui and explores where “elegance” comes from inQiu Hai Tang in the writing style of questions and how Qin Shou’ou develops his creationproposal, etc. The third chapter focuses on finding out the cultural thought hidden behindvarious adapted forms and presenting its unique characteristics of integration and culturefrom the three aspects of drama, film&television and talking&singing.