作者：程芸;

机构： 武汉大学艺术学系,

中文关键词：元杂剧;;汤显祖;;传播;;接受;;文体

英文关键词：miscellaneous dramas in the Yuan Dynasty;;Tang Xianzu(汤显祖);;spreads;;acceptation;;style

中文摘要：元杂剧在晚明的传播与接受中,兼具“戏剧典范”与“文学遗产”双重属性。汤显祖嗜好元杂剧,对其传播有所贡献,但他主要是将元杂剧作为“文学遗产”来接受的。从传统曲学角度看,《临川四梦》与北杂剧的文体因缘主要表现为频繁的“增衬”现象,而这有别于沈璟、王骥德等吴越曲家对北曲形式美的认知。这一不同,既折射出晚明南北曲交流与互动的复杂性,也反映了文人曲家审美心态、文体选择的多样性。

英文摘要：Miscellaneous dramas in the Yuan Dynasty were taken both as the“dramatist model”and as“liter- ary heritage”in the Late Ming Dynasty.Dramatist Tang Xianzu was fond of miscellaneous dramas and helpful to its spreads,but he primarily considered them as“literary heritage”.From the traditional theatrical viewpoint,the tylistic relation of Four Dreams of Linchuan with miscellaneous dramas in the Yuan Dynasty lay in their frequently“adding supplements”(“增衬”),which was different from the dealings of those dramatists Shen Jing (沈璟), Wang Jide (王骥德) etc.in now Jiangsu and Zhejiang Provinces (吴越) with the northern theatrical modes.All this reveals the different aesthetic tastes of the northern and southern dramatists.

[中文刊名]：文学遗产 [出版日期]：2006-11-15 [CN]：11-1009/I [ISSN]：0257-5914

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