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关于元杂剧四折一楔子体制的研究往往被预设了一个前提,即四折一楔子一直是稳固且意义明确的概念,并由此将研究重心转向分折与不分折的论争。事实上,从明刊元杂剧选集可以看出四折一楔子不但不稳固,而且意义也不够明确。四折一楔子体制作为一个稳固明确的概念有赖于后世的建构。特别是王国维对于戏曲研究范式的变革,在理论上奠定了四折一楔子体制的基础。
The research on the four-fold-one-wedge system of Yuan drama is often presupposed by the premise that the four-fold-one wedge has always been a solid and well-defined concept and thus shifts the focus of research to the controversial and non-divergent debate. In fact, it can be seen from the anthology of the Ming Dynasty Yuan Zaju that not only is it not stable and the meaning is not clear enough. The four-fold-one system of wedges depends on the construction of later generations as a well-defined concept. In particular, Wang Guowei’s reform of the paradigm of drama studies has theoretically laid the foundation for a four-fold and one-wedge system.