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成松柳彭瓊英：唐代娛樂文化與唐傳奇演變（下）
三、娛樂文化主體的轉變與唐傳奇的式微
“唐傳奇產生在文人圈子之內，只供文人同好聊作談資或案頭閱讀，其發生和消亡受到文人自身生存條件和思想條件較嚴格的限定。”[20]唐傳奇的作者大多是文人士大夫，都有較高的文化水平。有學者甚至將傳奇描述為“進士文學”，因為它屬於獨特的娛樂群體。隨著國家的日益衰落，進士制“洎乎近代，厥道寢微，玉石不分，薰蕕錯雜”；“暨咸通、乾符，則為形勢吞嚼。”[21]不再尋求出仕，耽於世俗享樂的士子們逐漸喪失了創作的欲望。政局之動蕩、前途之絕望也使文人們失卻了遣興娛樂的閑情逸致。這樣，傳奇創作就喪失了它原來因以興起和發展的外界刺激和客觀條件，其創作動機就必然轉換到新的方面。…
ContinueAdded by Host Studio on June 13, 2019 at 11:05am — No Comments
成松柳彭瓊英：唐代娛樂文化與唐傳奇演變（中）
二、娛樂文化活動的群體化與唐傳奇的發展
“小說亦如詩，至唐代而一變。”[9]魯迅語。小說在唐以前，一直是以志怪志人為主要內容，而傳奇，汲取了六朝志怪文學的營養，為小說帶來了一股新鮮的氣息，它從志怪走向現實，記錄愛情而更具文采。它依靠自己的獨特，成為中國小說本幹上“獨秀的旁枝”[10]。
唐傳奇的繁榮首先表現在作家作品的數量方面。更重要的表現在它總體面貌的絢麗多彩，千姿百態上，而這又是由內容的豐富和藝術的精湛所決定的。
斗雞是唐代帝王極喜愛的一項娛樂活動，“上好擊毬，由是風俗相尚。”…
ContinueAdded by Host Studio on June 13, 2019 at 10:55am — No Comments
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愛墾網 是文化創意人的窩;自2009年7月以來，一直在挺文化創意人和他們的創作、珍藏。As home to the cultural creative community, iconada.tv supports creators since July, 2009.
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