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作 者:张婷婷[1] ZHANG Tingling
机构地区:[1]南京艺术学院艺术学研究所
出 处:《戏剧艺术》2019年第4期135-147,共13页Theatre Arts
基 金:国家社科基金艺术学项目“晚明艺术思潮与心学理论研究”(17BA020)阶段性成果
摘 要:贵州地处西南边陲,自明代建省之后,随着“调北征南移民政策”的实施,中原大传统文化逐渐传入贵州,昆曲艺术也随之被带入,在具有江南乡邦情结与文化记忆的黔地士大夫阶层流传。由于与地方本土的习俗风尚与审美趣味,尚有较大差异,昆曲始终只能囿于知识精英的窄小圈子中传播。昆曲传入费州并在当地产生一定的影响,历史上共有三次,一为万历年间,黔籍文士谢三秀与南徙的缙绅士夫将昆曲带入贵州;二为抗曰战争时期,高等院校西迁西南,项远村在贵州的昆曲活动;三为建国之后张宗和先生开启贵州的昆曲教育。这三次传播,尽管时间跨度有四个世纪,但均有契合一致的共性,即与江南文人群体或个人的南移密不可分,文人士大夫虽非特在边地种下昆曲的种子,却也有效地激活了昆曲文化在边地的意识。Guizhou is located in the Southwest frontier.Since the founding of the province in the Ming Dynasty,with the implementation of the policy of the southern expedition,the culture of the central plains was gradually introduced into Guizhou,and Kunqu was brought in,to spread in the circle of the scholar-bureaucrats who were characterized with Jiangnan(regions south of Yangtze River)complex and cultural memory.Due to the gap between the artistry of Kunqu and the taste of local customs and aesthetics,Kunqu was confined to the narrow circle of the intellectual elite.There had been three waves of Kunqu's introduction into Guizhou and the influence of Kunqu in the local context.The first wave was during the reign of Emperor Wanli,when Xie Sanxiu.a scholar of Guizhou Province,together with other immigrant gentry scholar-bureaucrats brought Kunqu into Guizhou.The second wave was during the War of Resistance Against Japan.when universities and colleges moved southwest,and Xiang Yuancun introduced Kunqu in Guizhou.The third wave was after the founding of the People’s Republic of China,when Zhang Zonghe started the education of Kunqu in Guizhou.The three waves had a span of four centuries,but they shared some common elements which wen*closely related to the southwanl movement of the literati groups or individuals in the south of the Yangtze River.Even though the literati were not intentionally planting the seeds of Kunqu,they effectively activated the consciousness for Kunqu Culture in the border areas.
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