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《新镌出像点板怡春锦曲》第五集《新词清赏书集》收录了明人散曲25套,与前四集和第六集收录剧曲不同。这些散套以特定的选录标准与曲牌篇制,呈现了当世曲家文人依谱制曲的写作样本,满足了文人清赏阅读的自娱习尚,成为家班堂会、宴饮歌场传唱的流行时调。曲中被塑造的女性歌者与私情夜吟,欲望表达与道德谴责的变调,隐含的人物关系场所显示的男权话语,使得散套呈现出叙事维度与抒情形象的变异,从一个特定角度显示了明代戏曲文人化与民间化互动进程中散曲叙事功能的强化和弱化。
“The new engraved pheasant Yichun Jin Qu” Episode fifth “New Ci Qing book collection” contains a collection of Ming Dynasty Sanqu 25 sets, and the first four sets and the sixth collection of dramas are different. These scattered to a specific selection criteria and the Tunes chapter system, presented when the genre of literary geniuses according to the genre of the writing sample to meet the literati Qing read reading self-entertainment Shang, became the home class church, feast singing banquet field Popular tone. The female singers and the nocturé nightmares, the change of the expression of desire and the moral condemnation, the patriarchal discourse displayed by the implied relationship between characters make the variation of the narrative dimension and lyrical image appear, The angle shows the strengthening and weakening of the narrative function of Sanqu in the interaction between the literati and the folk in the Ming Dynasty.