民初文人“捧角”现象的新变及与士心世态的关系  

The Public Attitudes Toward the Literati's Role in Opera Circle at the Beginning of the Republic of China

作　　者：薛超睿[1] XUE Chao-rui(School of Chinese Language and Literature, Yancheng Teachers University, Yancheng, Jiangsu 224002, China)

机构地区：[1]盐城师范学院文学院,江苏盐城224002

出　　处：《盐城师范学院学报（人文社会科学版）》2019年第1期51-54,共4页Journal of Yancheng Teachers University（Humanities & Social Sciences Edition)

基　　金：国家社科基金一般项目"中国通俗文学期刊文本与电影改编研究(1913 1931)"(17BZW073)

摘　　要：民国初年,遗民文人聚集在北京、上海、天津等都市,流连歌楼戏院,为艺人填词谱曲,以文字追捧结好,成为20世纪初叶都市文化的一个异类,毁誉参半,批评者讥之"沉湎于声色,乃托词于醇酒妇人者",欣赏者则赞其知音顾曲,文人雅好。产生文人捧角的新变化及这一文化现象背后的士心世态的原因是:捧角是传统"士伶交往"的延续,是由赏色的欲望投射到审美的艺术评论的过渡;由文人参与创作的剧目,对戏曲艺术由俗入雅起到提升作用。Many of the literati became adherents of the former Qing Dynasty at the beginning of the Republic of China. They scattered in big cities, such as Beijing, Shanghai and Tianjin, lingering around theatres, writing lyrics for the famous actors and actresses, establishing themselves as outliers at the beginning of the 20th century urban society. They were denounced as vagabonds who indulged in obscene music and low taste;however they were also praised by others for their artistic talent and elegant taste. Their behavior is the inheritance of the interaction between literati and performers, the projection of desire for sensual lust into the aesthetic criticism, failitating the enhancement of the taste of operas at that time.

关 键 词：民初 遗民文人 捧角 士心世态 

分 类 号：G122[文化科学]