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1 (NSC H )

2 (self-adjustment)

3 (c o n s t r u c t) (r e c o n s t r u c t) (memorial narrative) 3 (f r a g m e n t s) 4 (individual memory) (collective memory) (cultural memory) 5 3 Cf. James Olney, Memory & Narrative: The Weave of Life-Writing (Chicago: The University of Chicago Press, 1998), p Stephen Owen f r a g m e n t s Cf. Stephen Owen, Remembrances: The Experience of the Past in Classical Chinese Literature (Cambridge, Mass. and London: Harvard University press, 1986), p (Maurice Halbwachs) (On Collective Memory) (autobiographical memory) (constructive process) (retrieval process) -41-

4 ( ? ? ) ( ) ( ) ( ) ( ) (horizon) 6 (episodic) ( r e c o n s t r u c t i o n ) (horizon) (The horizon is the range of vision that includes everything that can be seen from a particular vantage point.) (The concept of the horizon suggests itself because it expresses the wide, superior vision that the person who is seeking to understand must have.) H a n s - G e o rg Gadamer, Truth and Method, translation edited by Garrett Barden and John Cumming (London: Sheed & Ward Ltd., 1975), pp. 269 &

5 7 8 9 ( ) b-5a

7 1 7 ( ) ( )

11 (1645) (1646)

15 ( ) ( )

16 42 ( ) 4 3 ( ) (1 662) 44 (1 675) (1 678)

17 4 8 ( ) (7 96) (1 652)

21 6 2 (retrospective prose narrative) Cf. Georg Misch, A History of Autobiography in Antiquity, translation in collaboration with the author by E. W. Dickes (Westport, Conn.: Greenwood Press, 1973), p Cf. Philippe Lejeune, On Autobiography, edited and with a foreword by Paul John Eakin; trans. Katherine Leary (Minneapolis & London: University of Minnesota Press, 1989), p

22 (present I) (past me) James Olney, Autobiogra phy and the Cultural Moment: A Thematic, Histor ica l, and Bibliographica l Introduction, in Jame s Olney, ed., A u t o b i o g r a p h y, Essay s The ore tical and Critical (Princeton, N.J.: Princeton University Press, 1980), pp

23 (narrative imperative) 67 ( ) (1 631) (1 653) (1 657) 67 narrative imperative Owen J. Flanagan, Self Expressions: Mind, Morals, and the Meaning of Life (New York & Oxford: Oxford University Press, 1996), pp

26 b-6a 447 9a-10a

30 a-b

31 (politics of identification) 9 2 (single self) ( a u t o -b i o l o g y) (a u t o -b i o g r a p h y) 9 3 ( t h e temporality of interpretation itself ) ( t h e e v e n t ) (the memory of the event) (the writing of the [memory of the] event) Cf. Andreas Huyssen, The Politics of Identification: Holocaust and West German Drama, in his After the Great Divide: Modernism, Mass Culture, Postmodernism (Bloomington: Indiana University Press, 1986), pp Cf. Michael Ryan, Self-Evidence, Diacritics (Summer, 1980): Cf. Nicola King, Present Imperfect Translation: Ronald Fraser s In Search of a Past a n d Carolyn Steedman s Landscape for a Good Wo m a n, in her M e m o ry, Narrativ e, Identity: -69-

32 9 5 ( ) Remembering the Self (Edinburgh: Edinburgh University Press, 2000), pp M.M. Bakhtin, Author and Hero in Aesthetic Activity, in his A rt and Answerability: Early Philosophical Essays, eds. Michael Holquist and Vadim Liapunov; trans. and notes by Vadim Liapunov (Austin: University of Texas Press, 1990), p

33 ( ) (1 654) ( ) ( ) ( )

36 ( ) a b -74-

37 11 4 ( ) ( ) a

39 ( )

40 ( )

43 ( )

47 ( )

48 (ternary temporal structure) 148 (fusion of horizons) Cf. King, Present Imperfect Translation, in her Memory, Narrative, Identity, pp ( h o r i z o n ) G a d a m e r (fusion of horizons) Cf. Gadamer, Truth and Method, pp. 273 &

49 (1680) 150 (1 684) 151 (1 686)

50 ( )

51 ( ) 162 ( ) ( ) ( ) (1 699) ( )

52 ( )

56 1 7 6 ( ) ( )

57 ( ) ( 1987 )

59 ( )

60 a-b -98-

61 -99-

62 (Fredric Jameson) (The Political Unconscious: N a rrative as a Socially Symbolic Act) Fredric Jameson, The Political Unconscious: Narrative as a Socially Symbolic Act (Ithaca, N.Y.: Cornell University Press, 1981), p

63 -101-

64 ( ? ? ) ( ) ( ) ( ) ( ) (horizon) -102-

65 Memory and Narrative: Early Qing Dramatists Lament for the Late Ming and Sentiments of Dynastic Changeover WANG Ayling Associate Research Fellow Institute of Chinese Literature and Philosophy, Academia Sinica The fall of the Ming was not only a national crisis; it also seemed to contemporaries to mark the dissolution of the Chinese world. The Chinese always experienced complex feelings of being able neither to accept nor reject the Qing, and these contradictory impulses produced the painful and tragic consciousness that was expressed in early Qing drama. This paper takes memory and narrative as points of convergence to explore how these writers employed drama as an intimate vehicle for retaining public and private memories, expressing their lament for the late Ming and their sentiments about dynastic changeover. To expli cat e t he interaction of m e m o r y, h i s t o r i c a l writing and self-narration, it focuses on the plays by Li Yu (1591?-1671?), Wang Fuzhi ( ), Wu Weiye ( ), Ding Yaokang ( ) and Kong Shangren ( ). The issues addressed are: How Li Yu and Wang Fuz hi communicated their national consciousness and mourning for the Ming in drama; how, if writing is a way of self-forgetting or self-extension, the twice-serving official Wu Weiye dramatized his self-justification through the processes of remembering, forgetting and memory rebuilding ; how Ding Yaokang shifted from his lament for the Ming to loyalty to the Qing through the conflict of d o u b l e - c o n s c i o u s n e s s i n private and public arenas; and how Kong Shangren reconstructed his life experiences by memorial narrative with a triple structure from the past to the present, from the present to the past, and the eternal present to demonstrate the formation of cultural and collective memories of the times. Keywords: drama chuanqi Ming loyalists memory narrative Ming-Qing dynastic changeover -103-

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