清代刊本弹词的概貌及特点  

The General Appearance and Characteristics of the Published Tanci in the Qing Dynasty

作　　者：盛志梅[1] 陈文静[1] SHENG Zhimei;CHEN Wenjing(College of Literature, Tianjin Normal University, Tinajin 300387, China)

机构地区：[1]天津师范大学文学院

出　　处：《常熟理工学院学报》2019年第4期31-36,共6页Journal of Changshu Institute of Technology

基　　金：国家社科重大课题“中国历代民间说唱文艺研究资料整理与数据库建设”(17ZDA246);教育部人文社会科学研究规划基金项目“中国弹词文学发展史”(15YJA751023)

摘　　要：弹词作为一种备受民众喜爱的说唱艺术,宋元以来流布很广;但由于历史原因,能够保存下来的唱本却不多见。现存弹词大多是清代刊印的,早期以手抄、雕版为主;道光以后,则以石印为主。刊本弹词除文人创作本外,多数都是书商亲自整理或者请其他文人修订出版,很少将原来的底本直接刊出的。在利益驱动之下,若出现一个成熟的版本,翻刻、盗版则纷纷随之而来,常有“千部共一版”的情况,从而造成清代弹词版本存在较为严重的雷同化现象。As a popular rap art, Tanci has been widely spread since the Song and Yuan dynasties. For historical reasons, few albums have been preserved. Most of the existing marble words were printed in the Qing dynasty, hand-copied and engraved in the early period, and stone seals in the Daoguang period. In addition to the vernacular poems by the literati, most of them were arranged by the booksellers themselves or edited by other literati, and then published. Driven by the interests, if a mature version appeared, the reprint and piracy would follow one after another, and there would often exist a situation of “one edition of one thousand copies”. As a result, the versions of Tanci in the Qing dynasty were seriously identical.

关 键 词：弹词 刊本 修订 雷同 

分 类 号：I276[文学—中国文学]