论戏曲文体文人化中的著作权意识  

On the Copyright Consciousness of Chinese Operas in the Literati Process

作　　者：王小岩[1] 

机构地区：[1]东北师范大学文学院

出　　处：《中国高校社会科学》2017年第2期144-153,共10页Social Sciences in Chinese Higher Education Institutions

基　　金：教育部人文社会科学研究青年基金项目"明代文人传奇在清代的舞台呈现研究"(16YJC751028)阶段性成果

摘　　要：早期戏曲作者不重视作品的署名权。明代嘉靖、隆庆以后,戏曲文体文人化程度加深,戏曲刊本开始出现署别号或真名的情况,说明当时的戏曲作者逐渐有了著作权意识。而宋元南戏在元明两代删改过程中,著作权发生了转移,如高明、丹丘先生(朱权)等在有意无意之中被认为是一些作品的作者。在戏曲文人化的过程中,文人戏曲家越来越重视戏曲作品的著作权,汤显祖是代表之一。汤显祖对改本的激烈态度促成了晚明戏曲著作权观念的发展。祁彪佳《远山堂曲品》分别著录原作与改本,实际是承认了作者和改家各自的著作权。Most of the early writers ignored the copyright of Chinese operas.In the Literati Process of Chinese operas from the mid-Ming Dynasty,more and more writers were engaged in the creation of Chinese operas.They gradually realized the importance of copyright.For example,Tang Xianzu claimed to possess the copyright of his Chinese operas,and refused adapters to modify his Chinese operas.Qi Biaojia admitted that authors and adapters had their own copyright.

关 键 词：著作权 戏曲 文人化 汤显祖 传世作品 

分 类 号：I237[文学—中国文学]