《太和正音谱》“杂剧十二科”分类特征  

Classification Features of “Twelve Traditional Operas” in Tai He Zheng Yin Pu

作　　者：闵永军[1,2] 

机构地区：[1]扬州大学文学院,江苏扬州225009 [2]黄淮学院文化传媒学院,河南驻马店463000

出　　处：《海南师范大学学报（社会科学版）》2014年第8期78-82,共5页Journal of Hainan Normal University(Social Sciences)

基　　金：教育部人文社科规划基金项目(编号:12YJA740069);河南省教育厅人文社科规划项目(编号:2013-GH-563)

摘　　要：《太和正音谱》"杂剧十二科"是明初朱权关于元及明初杂剧题材的分类研究。《太和正音谱》的分类延续了宋元时期"科"的类别范畴和说话家数的题材分类传统,形成了"杂剧十二科",首次系统地完成了对杂剧题材的理论概括。虽不全面,但却显示了特别的意义。类别的划分显示了朱权本人慕仙求道的心态意绪,其悲欢离合剧类涉及到戏剧审美的内涵,已有了悲剧喜剧分别的意义。The term ＂Twelve Traditional Operas＂ in Tai He Zheng Yin Pit refers to the classified study of traditional operas in Yuan and early Ming dynasties by Zhu Quan, a scholar on drama in the early Ming dynasty. A continuation of opera categories and of the tradition of opera subject classification in Song and Yuan dynasties, Tai He Zheng Yin Pu proposed the classification of ＂twelve traditional operas＂, thus having made a systematic and theoretic generalization of themes on traditional operas for the first time, which, though incomprehensive, is of particular significance. The classification of traditional operas is reflective of Zhu Quan＇ s admiration for immortality while his dramatic works on vicissitudes of life have involved the connotation of drama aesthetics as well as the respective meaning of tragedy and comedy.

关 键 词：《太和正音谱》 “十二科” 分类 

分 类 号：I206.2[文学—中国文学]