湖州师范学院求真学院毕业论文文献综述
学生姓名 专业 指导教师 （要求达到3000字，涉及30部/篇研究书刊以上，有研究现状的概述，对已有问题的讨论研究、存在问题的提出、自己要解决的问题及怎样解决） 自从确定毕业论文写有关《红楼梦》以后，我查阅了大量的资料，有曹雪芹、高鹗著的《红楼梦》，张毕来的《贾府书声》，中国艺术研究院红楼梦研究所人民文学出版社编辑部编的《红楼梦研究罕见资料汇编》，蒋和森的《红楼梦论稿》，刘梦溪的《红楼梦新论》，张毕来的《漫说红楼》，何满子的《论儒林外史》，中国艺术研究院、红楼梦学刊编辑委员会编的《红楼梦学刊》，关四平写的《无可奈何花落去——论贾政的人生悲剧》，胡文彬写的《中国封建贵族世家盛衰的透视（试论〈红楼梦〉的真面目）》，张雷洋写的《说贾政》，辽宁《清史简编》编写组编写的《清史通编》，赵忠心编著的《家庭教育》，郑其龙、萧声馥等编著的《家庭教育学》，克劳蒂娅的《美国人的家庭教育》，冯林的《中国家长批判》，肖春生编著的《古今名人教子70法》，叶立群的《家庭教育学》，周瑛、金瑞欣编著的《教育学》，中国人民大学书报资料中心编的《家庭教育导读》等。这些资料虽然在具体写作中我没有完全利用起来，但它们对我的写作都起了一定的影响，都有一定的帮助。 我首先看了人民文学出版社1985年2月版的曹雪芹、高鹗著的《红楼梦》。通过阅读，我对其中的家庭教育的种种现象引起了兴趣，并且对一些经典的情节和场面进行了摘录，对之深入思考。 接着浏览了人民文学出版社2001年8月出版，中国艺术研究院红楼梦研究所人民文学出版社编辑部编的《红楼梦研究罕见资料汇编》上，看看有哪些资料可以用得上。从该书中发现对《红楼梦》研究论述的角度很多，如从人物形象，情节场面，服饰饮食，风俗游艺等，但从教育角度进行论述的则很少，只有纯朴先生的《红楼梦的教育观》，作者认为教育这个问题在《红楼梦》中是一个有趣的问题，小说中有丰富的教育资料，很值得研究，如果将之加以科学的研究，使它教育化，那它对教育的影响一定很大，对教育的贡献一定很多，于是更加激起我写作的兴趣。 为了了解前人对该问题的研究状况，我首先翻阅了上海文艺出版社1983年5月出版的张毕来先生的《贾府书声》。书中第一节内容《论清初蒙学的理论与实践和贾氏家塾中的师友之道》对我影响较大。书中从贾政带宝玉以及秦业带秦钟拜见塾师时的恭敬态度、入学目的、科举问题等看出以贾政、秦业等为代表的那类父母对子女的教育目的及宗旨。从中也将我的视线引到塾师贾代儒身上，联系小说内容想到了他“因材施教”的教学方法。 人民文学出版社1959年1月出版的蒋和森先生的《红楼梦论稿》，第250-263页《思想和艺术的完美统一——“宝玉被打”析》，作者从反封建主义角度出发对该情节进行评述，而我作为一名准教育工作者，引发了我从教育的角度出发进行思考，深入地思考贾政的这种教育方法是否合理。 人民文学出版社1978年9月出版的张毕来先生的《漫说红楼》，第214-226页《泛论“诗书仕宦之家”以及“贾氏的文武并用和中举当官问题”》对我影响也很大，使我的视野扩大，对小说及当时社会的教育的一大特点有了较明确的印象，即重功名。 中国人民大学书报资料中心编的《红楼梦研究》双月刊，1986年2月版第54-61页收编胡文彬
先生的《中国封建贵族世家盛衰的透视（试论〈红楼梦〉的真面目）》，和中国社会科学出版社1982年7月出版，刘梦溪先生的《红楼梦新论》第33-81页从《红楼梦》的思想意义和历史价值角度对之进行论述，这使我意识到，对《红楼梦》的教育进行评价势必要结合当时的社会历史。这一意识促使我大致翻阅了辽宁人民出版社1980年3月出版的辽宁《清史简编》编写组编的《清史通编》，有选择地看了第291-363页。在看清史时，令我想起同时代与科举教育有关的《儒林外史》，由于时间问题，只看了人民文学出版社1981年11月出版的何满子先生的《论儒林外史》第43-50页，对我影响较大。 既然写《红楼梦》的家庭教育问题，那么孩子的家庭教育在孩子的一生中到底起怎样的作用，对他们今后发展有没有影响呢？为此，我浏览了警官教育出版社1998年9月出版周瑛、金瑞欣编著的《教育学》。在该书中我认识到家庭教育在孩子一生中有着举足轻重的作用，因为父母是孩子第一任“灵魂工程师”，它在孩子一生中的影响是不可磨灭的。为此，我就浏览了有关家庭教育的论著：中央广播电视大学出版社1989年2月出版的赵忠心先生的《家庭教育》，湖南教育出版社1984年2月出版的郑其龙、萧声馥等编著的《家庭教育学》，福建教育出版社1995年10月出版的叶立群先生编著的《家庭教育学》。为了了解外国先进国家它们的家庭教育的现状和方法，我大致浏览了专利文献出版社1997年12月出版的克劳蒂娅的《美国人的家庭教育》。从这些论著中我了解到对孩子的教育目的、教育原则、教育方法等在家庭教育中又占有非常重要的作用。因此我又浏览了中国商业出版社2001年9月出版的冯林先生编著的《中国家长批判》，从这部书中我发现了当代家长在家庭教育中的一些误区：家长作风、专制主义；暴力倾向、赏罚简单；重智轻德、分数第一；己之私愿、强施子女等等。天津社会科学院出版社2003年8月出版的肖春生先生的《古今名人教子70法》，这部书中向我们介绍了古今一些家庭教育中先进的教育方法，如：诱导自省法、因材施教法、处罚法、以身说法法等等。以上这些书籍使我对写作《红楼梦》家庭教育的主要方向有了一个大致的、模糊的印象。 “子不教，父之过”，在对子女的教育问题上，父亲所负的责任似乎较大，为此我查阅了有关论述贾政的文章，如：文化艺术出版社出版的《红楼梦学刊》的1993年第4期第135-156页，其中收编了关四平先生的《无可奈何花落去——论贾政的人生悲剧》；中国人民大学书报资料中心主编的《红楼梦研究》双月刊1986年6月第74-80页的张雷洋先生的《说贾政》。 最后，中国人民大学书报资料中心主编的《家庭教育导读》2005年6月版对我完成整篇论文影响很大，它为我展示了当今家庭教育中的一些新问题、新情况，专家的最新观点，使我的论文更有“新意”。 这些书籍不仅对我《红楼梦》家庭教育的写作有很大的帮助，它还开阔了我的视野，因为平时我很少、也不会读这类书。我想这些书籍对我的影响不仅如此，肯定还有更多，在我今后的生活中会慢慢发现。
英文文献资料（要求达到2000字）
Beginnings and Departures:
——the dream of the red chamber
Yao Huashi
（Wake Forest University）
Abstract: Chapter One of the Dream of the Red Chamber (Honglou meng)consists of a series of beginnings or “false starts” as one critic has characterized them. The first of three narrative episodes which make up the prologue casts the protagonist’s mythic origin in the primordial past. Key words: the beginning, innovation ,vestige of tradition
A brief summary of the familiar story runs as follows. In order to repair a leaky sky, the goddess Nüwa moulds 36, 501 five-colored rocks. In the end she finds use for only 36,500 of them. Having become sentient and quasianthropomorphic, the supernumerary rock is despondent over his rejection. One day, while lamenting his misfortune, Stone sees a Buddhist monk and a Daoist prelate approaching and overhears them reminiscing about the prosperity of the sublunary world. Stone is sorely tempted to partake in the sensual pleasures that the two have described so vividly and begs them to help him descend to earth. Having unwittingly enticed Stone, the Buddhist and the Daoist now try to warn him of the transient and illusory nature of earthly pleasures. Their words, however, fall on deaf ears. Stone is determined to seek his fulfillment on earth. The subsequent narrative, or the novel proper, is thus literally consequent upon Stone’s fateful departure from the ethereal world.
An immense time span separates the first episode from the next. Eons have passed before a Daoist named Vanitas chances upon Stone, who has since returned to the ethereal world. Or rather, the Daoist finds a rock bearing an inscription of Stone’s earthly sojourn; hence the original title of the novel, the Story of the Stone.5 After perusing it, the Daoist acknowledges to Stone, author of the inscribed tale, that it indeed has some interest, but he maintains that it is also seriously flawed. Despite his initial reservations, Vanitas agrees to transcribe the narrative. This episode, which contains a lengthy debate between Stone and the Daoist on the tale’s literary merits or lack thereof, is an important point of departure from what Stone describes as an exhausted narrative tradition. As such, this section will feature prominently in the subsequent discussion. The third and final episode of the prologue introduces a set of new characters including the penurious scholar Jia Yucun, who serves an ingenious narrative link between the mundane and the ethereal world.
Vestige of Tradition or Sign of Innovation
Despite its exceedingly complex nature, scholars are curiously indifferent to the beginning of the Dream of the Red Chamber. Instead, they are fixated on the missing part — the ending — of the novel, looking for clues and hints in every conceivable place. A review of the scholarly and critical literature on the novel reveals few studies of the novel’s extraordinary beginning. In a way, that is only to be expected. The prospect of “ completing” the novel in some way, or even figuring out its overall design is too tantalizing a challenge to resist.6 From time to time new theories put forward, some more plausible than others. Granted, to the extent that the significance of a narrative rests on its ending, the task of evaluating the novel is made more difficult without its conclusion.
The absence of critical attention to the beginning of the novel can also be attributed to other factors, some of them ideological. Critics in mainland China dismiss the mythic elements of the Dream of the Red
Chamber as dregs of a “ feudal” belief system, choosing to emphasize realistic elements instead.Expatriate scholars such as Zhao Gang hold that the allegorical elements in the Dream of the Red Chamber result from the influence of its commentator Zhiyan Zhai.8 Still others, Yu Pingbo and Wu Shichang among them, dismiss the mythic framework on textual grounds, seeing it as a spurious interpolation by Gao E, editor of the first printed version of the novel.9 Lumping together the supernatural elements in the novel, Wu Shichang writes,
These stories are obviously too superstitious to be convincing. They are hardly relevant to the central theme of the novel or to other stories. Even if they are well written, so many of them must be boring to any reader; and the great space they occupy in the last forty chapters does little justice to the novel or to its reader. They look like grotesque buildings artificially scattered on one-third of a well-designed garden, neither serving any useful purpose or adding any pleasant sight for the visitor.10
Other critics regard the beginning of the novel as a product of literary inertia. In his preface to Chi-chen Wang’s English translation of the Dream of the Red Chamber, the venerable sinologist Arthur Waley comments on its framework within the historical context of the Chinese narrative tradition. Waley begins by noting the historical hierarchy governing Chinese literature or written texts in which the Confucian canon was ensconced at the top while fiction was relegated to the bottom. Therefore, to ensure a measure of respectability, the author of the vernacular narrative superimposed a didactic framework on his work. Waley writes, “Even the most licentious of Chinese novelists did indeed make some show of pointing a moral, but the pretense is usually carried out in such a way as to irritate those who read for pleasure without appeasing those who read for improvement.” Despite its overall break from convention, Waley sees the Dream of the Red Chamber as tradition-bound in two important respects, namely, in its didactic framework and its oral mode of narration. Unlike its predecessors, the Dream of the Red Chamber does not recycle historical materials, but it nevertheless shares certain characteristics with them:
“It has their inordinate length…] their lack of faith in the interestingness of the everyday world, leading to the conviction that a realistic story must necessarily be set in a supernatural framework. It has the storyteller’s tendency to put far more art into the technique of the individual séance or chapter, than into the construction of the work as a whole. It has the same moralizing tendency; for as I have said, Chinese fiction is always on the defensive — is always, with an eye on official Puritanism, trying to prove that, like serious and approved literature, it has a “message.”
According to Waley, what makes the Dream of the Red Chamber such a milestone in Chinese literature is its realism. Waley asserts that all realistic novels are autobiographical. Following Hu Shi’s lead, Waley asserts that Cao Xueqin’s innovation lies in modeling his characters upon himself and his family. Indeed, only by using a “ rigid framework imposed by tradition” is Cao able to prevent himself from committing “ the error of transcribing with too careful a fidelity the monotonies of actual life.”
To Waley, then, the beginning is paradoxically a shortcoming as well as an asset. However, the novel’s debt to tradition appears rather modest if one examines the Honglou meng carefully. The Dream of the Red Chamber departs from convention at the very outset in conspicuously lacking the customary prefatory poem and its attendant prose commentary.14 Even such a full-fledged literary work as The Scholars preserves the entire traditional opening sequence. However, the oral residues in the Dream of the Red Chamber are minimal. They are confined to the retention of the traditional framework and some terminology from oral storytelling. However, as I intend to argue, the framework is put to such a radically different purpose that it is no longer a simple throwback to the huaben tradition.
