明清戏曲对诗学传统的回归  

Xiqu Opera's Return to the Poetic Tradition in the Ming and Qing Dynasty

作　　者：魏中林[1] 花宏艳[1] 

机构地区：[1]暨南大学文学院,广东广州510632

出　　处：《艺术百家》2010年第1期129-132,123,共5页Hundred Schools In Arts

基　　金：教育部人文社会科学研究项目"中国古典诗学的学问化问题研究"(项目编号:06JA75011-44042)阶段性成果之一

摘　　要：中国古代戏曲又称为"剧诗",既具有叙事文体的性质,又具有抒情文体的性质,这两种性质在戏曲的发生发展过程中是并行不悖的。戏曲最初是被排斥于诗学传统之外的小道末技,明清时期戏曲在其雅化的过程中,越来越集中地表现出向诗学传统回归的倾向。这种回归具体表现在明清戏曲具有文人主体的雅化传统、"诗言志"的抒情传统、"兴观群怨"的诗教传统三个方面。Ancient Chinese Xiqu Opera is also called ＂ drama- poetry＂. It is of the nature of both narration and lyricism, the two of which are not contradictory in the development of the Xiqu opera. The Xiqu opera is originally excluded from the poetic tradition; in the process of making it elegant in the Ming and Qing dynasty, it shows more intensively the tendency to return to the poetic tradition. The return is specifically represented in the three aspects of the elegant tradition with scholars as its center, the lyrical tradition of ＂poems expressing ideals＂ , and the moral tradition of ＂active social criticism＂.

关 键 词：戏曲 诗学传统 回归 戏曲艺术 

分 类 号：J802[艺术—戏剧戏曲]