论晚明戏曲批评中的“奇”观念  

On the Concept of“Strangeness”in Opera Criticism in Late Ming Dynasty

作　　者：陈刚[1] CHEN Gang

机构地区：[1]陕西师范大学文学院,西安710119

出　　处：《求是学刊》2025年第1期162-175,共14页Seeking Truth

基　　金：国家社科基金青年项目“晚明常奇观念的蜕变及其对文学之影响研究”(17CZW026)。

摘　　要：“崇奇尚异”是晚明一股非常重要的文化风习,具体到戏曲批评领域,也出现了大量关于“奇”观念的反思与言说。和前代相比,晚明戏曲批评中的“奇”观念呈现鲜明的体系化、多元化、深入化等特征。通过对晚明戏曲批评资料的梳理,发现晚明戏曲的尚“奇”内涵主要包括戏曲题材之奇和戏曲写作之奇两个重要组成部分。戏曲题材之奇主要有事之奇、人之奇、情之奇三大类别,戏曲写作之奇又可细分为构思、境界、叙事、结构、语言这五个层面。晚明戏曲对于“奇”的张扬与书写,是文人日益失落的精神世界在艺术领域中的一种折射,同时也充当着奇士抒发抑郁不平之气的文化工具。“Respecting strangeness and differences”was a very important cultural trend in the late Ming Dynasty.In the field of opera criticism,there were a lot of reflections and speeches on the concept of“strange-ness”.Compared with the previous dynasties,the concept of strangeness in late Ming opera criticism presents distinctive systematic,diversified and in-depth features.This article examines the criticism data in late Ming Dynasty and is found that the connotation of“strangeness”in this period mainly includes two important com-ponents:the strangeness of the subject matter of opera and the strangeness of the writing of opera.There are three major categories of“strangeness”in opera themes:strangeness of things,strangeness of people and strangeness of feelings.Strangeness in opera writing can be subdivided into five levels:conception,realm,nar-rative,structure and language.The promotion and writing of“strangeness”in late Ming Dynasty is a refraction of the increasingly lost spiritual world of the literati in the field of art,and also serves as a cultural tool for the unique persons to express their depression and injustice.

关 键 词：晚明文学 戏曲 非奇不传 常中出奇 “奇”观念 

分 类 号：I207.37[文学—中国文学] K248.3[历史地理—历史学]