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1913年王国维的《宋元戏曲史》问世,它标志着戏曲研究开始独立成为一门学科。随后的三四十年代涌现出一批戏剧史专著。它们深受《宋元戏曲史》的影响,与《宋元戏曲史》的关系表现为:续写、沿袭、突破。“续写”即三四十年代部分明清戏曲史专著是由《宋元戏曲史》之断代史性质及王国维对待元后剧曲之态度催生而出的。“沿袭”即三四十年代戏剧史专著继承了《宋元戏曲史》的学术观点和述学范式。“突破”即三四十年代戏剧史专著竭力使自己的面貌与王氏《宋元戏曲史》有所差异。上述三种关系中,沿袭是最显著的。它决定了三四十年代戏剧史专著的性质:王国维戏剧史观及述史范式所构建之戏剧史体系的延续。
In 1913, Wang Guowei’s “History of the Song and Yuan Operas” came out, marking the beginning of the independent study of opera as a subject. The following three or four decades emerged a number of drama history monographs. They are deeply influenced by the history of opera in Song and Yuan dynasties, and the relationship with the history of opera in Song and Yuan dynasties is as follows: Continuation, Succession and Breakthrough. In the 1930s and 1940s some monographs on opera history were born out of the nature of the history of the drama in the Song and Yuan dynasties and the attitude of Wang Guowei to the drama of the post-Yuan Dynasty. “Lineage ” is the monograph of the history of the 1930s and 40s inherited the academic view and narrative paradigm of “the history of opera in the Song and Yuan Dynasties.” “Breakthrough” is the monograph of drama in 1930s and 1940s Trying to make his appearance different from Wang’s “History of Song and Yuan Operas”. Among the above three relations, the lineage is the most significant. It determines the nature of the monographs of drama in the 1930s and 1940s: the continuation of the theater history system constructed by Wang Guowei’s drama history concept and narrative history paradigm.