社會文化嬗變下的人與物：明清文人戲曲中「信物」的運用及其文化意涵

本文以文人戲曲中的重要信物為中心，結合其他材料中所記錄的社會環境、物質文化以及戲曲發展，探究不同時代文人戲曲中的信物如何體現出民風、物質文化和價值觀念的變遷，以此提供一個針對戲曲研究的新路徑。信物傳統淵遠流長，其功能和淵源可以追溯至先秦時代，之後在各朝中伴隨著不同的社會、物質文化和文學作品刺激，一層一層積累，在明清文人傳奇中才得以有一席之地。文人戲曲中的信物隨著社會文化一同變化，第一次的重大改變發生於明中後期因經濟結構轉變所致的窮奢民風，這使得信物從元代雜劇的質樸日常生活之物，轉為以獨一無二、精緻奇巧的信物至上。除了受外在社會文化影響，這些獨特精巧的信物亦隨著文人傳奇在明中後期的發展，在戲劇表演中變得至關重要。第二次的重大變化發生於明清易代，災荒戰亂使社會思潮轉向經世致用，也進一步改變了文人傳奇的題材和旨趣。經歷了改朝換代的戰亂，面對思想和風俗新舊交雜，以及皇權的高張，最終使得文人傳奇中的信物產生分裂：一派基本維持晚明傳奇的信物特質，未有進步或改變；另一派則在經世之學下，追求再現歷史的血淚或社會矛盾以求反思和淨化，此派信物在此風中漸漸脫離了實際物質層面的講究，而開始帶有靈性、神力或是有御賜的特殊背景，產生了和明代截然不同的新局面。

關鍵字

明清傳奇；文人戲曲；信物；物質文化；世變

並列摘要

This thesis focuses on the important tokens in literati drama, combining various materials related to the social environment, material culture, and the development of Chinese opera to explore how the tokens in literati drama in different eras reflect the changes in customs, material culture, and values, so as to provide a novel approach to the study of Chinese opera. The tradition of tokens has an extensive history, with its functions and origins tracing back to the pre-Qin era. Its meaning and functions evolved through different culture and representation in literatures in the subsequent dynasties, before eventually finding its place in Ming-Qing literati Chuanqi(傳奇). The tokens in literati drama changed in accordance with the shifts in society and culture. The first prominent change occurred in the mid-Ming dynasty due to economic transformation. This transformed the tokens from simple everyday objects in the Yuan Dynasty plays into unique and exquisite ones in Ming Chuanqi. Apart from being influenced by external social and cultural factors, these unique and exquisite tokens also became crucial in theatrical performances following the development of literati Chuanqi in the Ming Dynasty. The second prominent change took place during the transition from Ming to Qing dynasty, when years of disasters, famines and wars turned the trend of literati thought to Statecraft (經世致用). Consequently, the theme and purpose of literati Chuanqi underwent further changes. In the face of intricate complexities resulting from changes in governance, thoughts, and customs, the tokens in the literati Chuanqi were ultimately divided: one faction basically retained the characteristics of tokens in late Ming Chuanqi without any progress or change, while the other faction, influenced by the trend of Statecraft, pursued the reenactment of historical events or social conflicts in order to encourage reflection and catharsis. The tokens in the latter faction gradually deviated from the emphasis on material aspects and began to possess spiritual, divine, or specially bestowed backgrounds, creating a new and distinct situation in comparison to Ming Dynasty.