晚明戏曲的普遍性与地域性——以声腔剧种的流播为研讨中心  

Theatre's Regionality and Universality in Late Ming Dynasty

作　　者：程芸[1] 

机构地区：[1]武汉大学艺术学系,湖北武汉430072

出　　处：《武汉大学学报（人文科学版）》2007年第5期635-640,共6页Wuhan University Journal (Humanity Sciences)

基　　金：全国艺术科学"十五"规划2003年度国家青年基金课题(03CB064)

摘　　要：明中叶以后北曲衰微,南曲诸声腔兴起,舞台时尚与审美风尚遂随之大变。昆曲新声"水磨调"的崛起,文人传奇的雅俗嬗变,彰显出地域文化参与文士缙绅主导的普遍性的文化建构时的重要作用,也折射出文艺的地域性与普遍性之间的辩证关系。The decadency of Beiqu（Northern Opera） and rise of Nanqu tunes（Southern Operas） after the middle Ming Dynasty resulted in a great change of theatric and aesthetic fashions. And the transformation of theatre cultural entironment also led to the bloom of New Chuanqi style which featured intellectual playwrights. As the new tunes of Kunqun opera and the study of traditional opera flourishing, the significance of regionally culture towards the universal cultural construction dominated by literators and dialectic relations between regionality and universality of literature were clearly recognized.

关 键 词：晚明戏曲 普遍性 地域性 

分 类 号：I207.37[文学—中国文学]