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1必须承认,起初是从报纸上的文摘读到了谷崎润一郎对阴翳的礼赞,立即联想到昆曲折子戏舞台上由来已久的极强白光,联想到明代昆曲兴盛时的演剧环境,联想到对当时服饰和妆容的记述,但惭愧的是,直到写完了《昆曲折子戏里的光》(见本刊2016年7月总第十三期)一文后,还没有来得及读《阴翳礼赞》全文,尽管
1 It must be admitted that at first Tani Tanizaki’s praise of the shade was read from the abstracts in the newspapers and immediately reminded of the long-standing intense white light on the stage of the Kunqu opera fan show, reminiscent of the drama environment during the rise of the Kunqu opera in the Ming Dynasty, At the time, however, I did not have time to read the full text of “Yin Yin Praise,” despite the account of costumes and make-up, but I am ashamed that I have not yet had time to read the full text of “Yin Yin Praise” after I have finished writing the “Light in the Kunqu Opera” (see the 13th Issue of this Journal in July 2016)