论晚明曲学“双美说”  

On the "Double Beauty Theory" of the Drama in the Late Ming Dynasty

作　　者：郑小雅[1] 

机构地区：[1]泉州师范学院人文学院,福建泉州362000

出　　处：《华侨大学学报（哲学社会科学版）》2008年第1期119-125,共7页Journal of Huaqiao University(Philosophy & Social Sciences)

摘　　要：面对汤显祖与沈?不同的戏曲审美取向,晚明曲论者通常将二人并列对照,进而得出"矩矱""才情""合之双美"的理论理想,但在潜而微的感性价值追求上,这一审美主张的内涵又不可抑制地有所偏向、转换。"双美说"的理论表述方式及其审美内涵,不仅强化了"汤沈之争"的争论假象,也决定了其自身的理论品性及意义。Facing the different aesthetic tendencies of Tang Xianzhu and Shen Jing, the theorists of drama in Late Ming Dynasty used to parallelize and contrast them and therefore drew the ideal conclusion of ＂ rule＂ and ＂talent combining double beauty＂. However, in pursuing the hiding and tiny sensitive value, its connotation is bound to change and wind. The theoretical presentation and aesthetic connotation of ＂ double beauty＂ theory not only strengthened the argument false appearance of ＂Competition between Tang and Shen＂, but also decided its own theoretical nature and meaning.

关 键 词：晚明 “双美说” 审美取值 理论意义 

分 类 号：I207.37[文学—中国文学]