《聊斋俚曲集》里的曲文和宾白  

The Libretto and Spoken Parts in Collected Folk Songs from the Strange Studio

作　　者：戚晓杰[1] QI Xiao-jie(College of Liberal Arts, Qingdao University, Qingdao 266071, China)

机构地区：[1]青岛大学文学院

出　　处：《东方论坛（青岛大学学报）》2019年第3期57-65,共9页Eastern Forum（JOURNAL OF QINGDAO UNIVERSITY）

基　　金：国家社会科学基金项目“明清山东方言白话文献比较语法范畴研究”(16BYY130);山东省社科规划项目“明清山东方言比较范畴研究”(12CWXJ26)的阶段性成果

摘　　要：蒲松龄《聊斋俚曲集》为清代山东方言戏曲集,曲文、宾白兼备。《聊斋俚曲集》曲文存有诸多不同于宾白的语法特点,这些差异体现了语体对语法的影响与制约以及山东方言中的此类地域特征。对《聊斋俚曲集》中曲文与宾白语法差异的研究,无论是对汉语语体语法学的探讨,还是明清山东方言语法的探究,都有着重要的意义。Collected Folk Songs from the Strange Studio by Pu Songling is a collection of plays written with Shandong dialect and possessing words of ballads and spoken parts. This paper observes the impact and restriction of discourse styles on the grammatical structure and the regional features of such Shandong dialect. The study on the difference between the libretto and spoken parts in Collected Folk Songs from the Strange Studio is of great significance to the study of Chinese grammar based on discourse styles and the grammar of Shandong dialect.

关 键 词：《聊斋俚曲集》 语法 曲文 宾白 山东方言 

分 类 号：H171[语言文字—汉语]