On The Reconstruction Of The Story Of Cobweb Cave By Literature And Art On The Stage In Qing Dynasty

The story of cobweb cave mentioned in this thesis is one of the units in the His-yu Stories,which includes two main parts: the spider spirit story and the centipede spirit story.The story of cobweb cave originated in the Sui and Tang dynasties and was integrated into the His-yu Stories in the Song and Yuan dynasties,becoming one part of the story of taking the scriptures.During the Jiajing period of the Ming Dynasty,the100-chapter novel Shi De Tang was published and the story of cobweb cave was basically finalized at the same time.However,the story in the era of post-100-chapter is not static,which is different from the public perception.Rather than taking the100-chapter novel as the original reference and restoring the original story,the stage forms such as opera and rap reconstructed the story based on their own artistic traditions and expressive conventions,which means that the characters and the stories are all different from those in the His-yu story.This thesis is divided into three main parts,except for the introduction,as follows.The first chapter provides an overview of the early evolution of the story of cobweb cave.It describes the original development stage of the story,discusses the historical and cultural backgrounds,restores the process of its coalescence with the His-yu story,and describes how it became a definitive story unit in the main part of the Scripture-taking story during the 100-chapter period.The second chapter concentrates on the evolution of the story within the opera text system.The story of cobweb is divided into two main parts,the main play and the single play,considering the actual text of the opera.On the other hand,it is also divided into two categories,elegant part and fantastic part,according to the vocal cadence.The whole story is reconstructed in a logical way,always serving the overall narrative of the His-yu story.The single story was treated as an independent system with its own beginning and end.If the reconstruction logic is different,there are different degrees and directions of adjustment in characters,plots,and characters in the whole story.The third chapter concentrates on the evolution of the story within the textual system of saying and singing.Combining the actual situation of the said and sung texts,the story of cobweb cave is divided into two major parts: the non-ritual music score and the ritual music score.The story is fleshed out in a non-ritual music score,while weakening the importance of the gods and demons and highlighting the human condition,thus fitting in with the intellectual structure,consumption habits,and aesthetics of the near-ancient marketplace public.The stories in the ritualistic score are thinner,but the linking relationship between a specific regional culture and folk beliefs can be seen.The remainder of the thesis briefly summarizes the development and changes of the story of cobweb cave during the Republican period,in order to appropriately extend the historical perspective of the subject of study.In particular,this chapter takes the story of cobweb cave performed by the famous Xun’s Team as an example and discusses it deeply,in the hope of presenting the changes of the story of cobweb cave in the later period and analyzing the modern transformation of the His-yu Story.