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明代文人群体的戏曲接受随明代前期和中后期社会文化环境的变化而呈现出两种不同的态势:明前期在官方禁戏政策的约束以及儒家道统、文统观念影响下,戏曲受到文人排斥,形成了文人与戏曲相疏离的态势;明代中后期戏曲活动日益繁盛,禁戏政策趋于废弛,社会文化环境较前期相对宽松,文人群体通过以“古乐”为戏曲音律源头、以《诗经》为戏曲文学源头的理论建构,使戏曲以儒家诗文传统之支脉的形式进入“正统”文学的范畴,从而完成了对戏曲的接纳。
The operas of the literati groups in the Ming dynasty accepted two kinds of different trends with the changes of the social and cultural environment in the early and middle and late Ming dynasties. In the early Ming Dynasty, under the influence of the official banning policy and Confucianism and Confucianism, The formation of a trend of alienation of the literati and the opera; the opera activities in the mid and late Ming Dynasty is increasingly prosperous, banning the policy tends to abate, the social and cultural environment is relatively relaxed than the previous period, the literati group through “Gule ” as the source of opera music, The Book of Songs is the theoretical construction of the source of drama literature, which makes the drama enter the category of “orthodox” literature in the form of Confucian tradition of poetry and tradition, thus completing the acceptance of the drama.