(1527-1602) (1558-1639) (1574-1646) (1600?-1655)

1

2005 3 161 212

-161-

1

2002

(temporality)

(randomness) 2

-162-

2

Wolfgang Iser, “The ReadingProcess: A Phenomenological Approach,” The Implied Reader: Patterns of Communication inProse Fiction from Bunyan to Beckett [Baltimore: The Johns Hopkins University Press, 1974], p.277

(wandering viewpoint)

Wolfgang Iser, The Act of Reading: A Theory of Aesthetic Response [Baltimore: The JohnsHopkins University Press, 1978], pp. 108-118

(consistent gestalt) Iser, The Act of Reading, pp. 120-121

(understanding)

(interpretation)

(Hans-Georg Gadamer, 1900-2002)

(fusion of horizons) 3

(horizon)

-163-

3 Hans-Georg Gadamer, Truth and Method (London: Sheed & Ward, 1975), pp. 273, 337

4

(intersubjectivity)5

-164-

4 Ibid., pp. 238-245.5 Ibid., p. 219.

(Wolfgang Iser, 1926- )

(structures-of-appeal)6

(the implied reader)7

8

9

-165-

6 Iser, The Act of Reading, pp. 165-167.7 Iser, The Implied Reader, p. xii. 8 Iser, The Act of Reading, p. 34.9 Iser, The Implied Reader, p. xii.

10

(a linguistic action)

(the repertoires) (the strategies)

(the realization)11

(the extratextual reality)

(context)

(textual

strategies) 12

13

(literary

-166-

10 Iser, The Act of Reading, p. 35.

Elizabeth Freund

Elizabeth Freund, The Return of the Reader: Reader-response Criticism (London; New York:Methuen, 1987), p. 144

11 Ibid., pp. 68-69.12 Ibid., p. 70.13 Ibid., p. 99.

competence)14 (the informed reader)15

(Robert Hans Jauss, 1921-1997)

(perceptual reading)16

(ideal reader)

(historical reader)

(interpretive

reading)

17

(1648-1718)

-167-

14 Jonathan Culler, Structuralist Poetics: Structuralism, Linguistics and the Study of Literature(Ithaca: Cornell University Press, 1975), pp. 113-130.

15 Stanley Fish, Is There a Text in This Class?: The Authority of Interpretive Communities(Cambridge, Mass.: Harvard University Press, 1980), p. 48.

16 Robert Hans Jauss, Towards an Aesthetic of Reception, trans. Timothy Bahti (Minneapolis:University of Minnesota Press, 1982 ), pp. 139-148

17 Ibid.

18

19

(ternary temporal

structure)20

-168-

18

3 17151993 185

19

2001189-300

20 Nicola King, “Present Imperfect Translation: Ronald Fraser’s In Search of a Past andCarolyn Steedman’s Landscape for a Good Woman,” Memory, Narrative, Identity: Rememberingthe Self (Edinburgh: Edinburgh University Press, 2000), pp. 36-42

21

(1699)

(1708)

22

23

-169-

21

GadamerHans-Georg Gadamer, Truth and Method, pp. 273, 337

22 1986

23

19 2001 9 78

(internalize) 24

(1829-1894)

(1648-1718) (1886)

25

26

27

28

-170-

24 8025 1920

47 39a26 1999 327

2002 447-4501993 459

28 148b-149a

29

-171-

29

1996 109-110

7a106

128a

79

(1648) (1718)

(1667)

(1678)

(1681) (1684)

(1686)

(1695) (1697) (1700)

(1702)

(1718)

30

(1695)

(1699)

31

32

-172-

30 198731 15432 147b

33

(1700) 34

35

36

37

-173-

33 147a34

35

1997 32-4836

1983 112.37 148a

38

39

40

(1706)

41

-174-

38 133b39 157-15840 147b41 148a-b

(1643-1645)

(1644)

-175-

42

43

44

-176-

42 146a-b43 2a44 1b

45

46

47

48

49

50

-177-

45 1b46 146a47 10b48 1b49 11a50 1b-2b

51

52

53

-178-

51 1a52

53 66a-b

54

(1708) 55

56

-179-

54 1a-b55 150a-b56 150b

(1775-1851)

57

58

59

60

-180-

57 19844 30

58 146a59 15b60 16a

61

62

63

64

65

66

67

-181-

61 18a62 18b-19a63 18b-19a64 51a65

66 52b67 136b

68

69

70

71

-182-

68 127b69 1998

3 535-53670 2001

4 25-2671 10a-11a

72

73

74

75

76

77

78

79

-183-

72 8273 10b74 12a75 118a76 7a77 2b78 79a79 2b

80

81

(alienate)

(alienation effect)

82

83

-184-

80 136a81

1987 39582 65b83 7a-b

84

85

(1643) (1645)

-185-

84 12a85

1

(1684)

86

87

-186-

86 8a87 2b

88

89

90

91

92

93

94

-187-

88 67a89 12a90 1a91 133b92 12a93 55a94 2b

95

96

97

98

99

-188-

95 62a96

97 65b98 70a99 82b

100

101

102

103

-189-

100 8a101 94b102 103b103 27b

104

105

106

107

108

109

-190-

104 116b105 125a106 39b107 51a108 52b109 65b

110

111

112

-191-

110 100b111 4a-b112 2a

113

(dramatic shift)

114

115

-192-

113

114 86b115 88b

116

117

118

119

-193-

116 72b166

117 43a118 61b-62a119 447-450

120

121

122

123

124

-194-

120 48b-49a121 52b122 116b123

1984 13124 126b

125

126

127

128

-195-

125 125a126 126a127

128 125b

129

130

131

-196-

129 127b130 135b-136b131 133a

132

133

134

135

-197-

132 3a133 4a134 19a135 19a

136

137

138

139

140

141

-198-

136 105b-106a137 135b138 135b139 1a140 2a141 150b

142

143

144

145

-199-

142 150a-b143 146a144 13145 3b

146

147

-200-

146 7a-b147

4a

-201-

4a

148

149

150

151

152

153

-202-

148 19a-b149 24b150 52a151 53b152 54a153

154

155

156

157

158

-203-

154 53b-54a155 11b-12a156 26b-27a157 13b158 81a

159

160

161

162

163

164

165 166

-204-

159 454160 116b161 120a162 84a163 58b164 24b165 72b

166166 93b

167

168

169

-205-

167 8a168 27a169 32a

170

171

172

173

174

175

-206-

170 31b-32a171 45a172 6a173 47b174 47a175 50b-51a

176

177

178

179

180

181 182

183

-207-

176 19a121

177 106b178 12a179 17a180 17b181 18a182

183 15b

184

185

(1708)

(objective correlatives)186

-208-

184 126a185 125b186 (T. S. Eliot, 1888-1965)

(a set of objects,a situation, or a chain of events)

T. S. Eliot, “Hamlet and HisProblems,” in Selected Essays (New York: Harcourt, Brace & World, Inc., 1964), pp. 124-125

(qualified reader)

-209-

(interpretive reading)

(horizon of expectation)187

-210-

187

(1708)

(interpretive reading)

(horizon of

expectation)

(ideal reader)

-211-

The Embedded Critical Dimensions of theCommentated Taohua shan

WANG Ayling

Of Chinese plays with commentaries, Kong Shangren’s Taohua shan (ThePeach Blossom Fan) is a masterpiece that deserves special attention. Taohua shan wasfirst published by Jieantang in 1708. The Jieantang edition of Taohua shan carriesmany prefaces, afterwords, poems before and after the text, and commentaries insertedwithin the text. This demonstrates that before the play was formally published, theauthor had incorporated the responses from readers, audiences, and commentators intothe text: the processes of copying, reading, acting, appreciating, transmitting andpublishing transformed the final work. The author invited contemporary celebritiesand his friends to write prefaces for him, and he himself penned the “introduction,”“postscript,” “textual criticism,” and “stage props” to formulate his idea of creativityand artistic construction.

This paper explores the embedded critical dimensions of the commentatedTaohua shan. It addresses, among others, the following issues: the writing andperformance of the play; the “critical consciousness” and “reader’s consciousness” ofKong Shangren; the dramatic structure and textual construction of the play; thepresentation of his artistic visions; the principles of characterization; and thetechniques of description. By analyzing the thinking and design of the commentaries,we suggest that the commentator has given a demonstration of “interpretative reading”and “horizon of expectation” for drama appreciation, theory and performance. In thislight, the commentator not only plays the functional role of “historical reader” or“ideal reader,” but also exerts a great influence on later readings. The symbiosis of theauthor and the reader and the direction that the commentator left for the reader in thecommentaries point to the artist’s critical consciousness and a poetics of contextualityin which the commentator, the reader, the audience and the author are fused into one.

Keywords: chuanqi commentary Kong Shangren Taohua shanreception theory reader’s response

-212-