吴梅的戏曲批评

吴梅(1884—1939)字翟安,号霜,著名的曲学大师。他倾毕生之力从事戏曲创作和研究,在曲学领域有全面的贡献。本文想就其戏曲批评作一评介。 我国的戏曲批评有悠久的历史,元代周德清作《中原音韵》已有戏曲批评的内容。其后,较著名的戏曲批评论著有朱权的《太和正音谱》,徐谓的《南词叙录》,王世贞的《艺苑卮言》,徐复作的《三家村老委谈》,祁彪佳的《远山堂曲品》、《剧品》,吕天成的《曲品》,李调元的《而村曲话》、《剧话》,焦循的《剧说》,梁廷楠的《曲话》等。其他论著,如玉骥德《曲律》,李渔《闲情偶寄》,亦有戏曲批评的内容。但是,诚如…     

新剧实践与新剧批评

五四运动前夕,传统戏曲、京剧改良与新剧实践配合社会革新浪潮,在舞台上交相辉映。初始阶段的新剧由于生长在传统的戏曲根基之上,加上理论薄弱、经验缺乏,出现“杂合”戏曲、内容趋向低俗的“歌舞派新剧”,这很大程度上背离“新剧真正之主旨”。针对这种情况,以冯叔鸾、郑正秋、周剑云、欧阳予倩等为代表的一批理论家,结合新剧舞台实际,提出新剧改良主张,强调剧本的重要性,主张正确地开展戏剧批评。     

戏曲“宗元”观念与明清戏曲史研究(笔谈)

<正>主持人话语:所谓"明清戏曲宗元",是与诗文领域的宗唐、宗宋、宗汉等一样,体现在戏曲创作与批评方面的一种现象、思想与观念。具体指明清时期戏曲创作与研究领域对于元代以北曲杂剧和南曲戏文为代表的戏曲形态的认知态度。其基本表现方式是以元曲为宗尚、为圭臬,包括以元曲为反拨的依据、变革的前提等,具体展开领域主要在于戏曲创作、戏曲批评方     

中国古代小说批评中的“跨界取譬”传统鸟瞰

在中国古代小说批评中,人们常常跨界性地攀附或援引史传、古文、绘画与戏剧等诸文类的专门性术语,以裨补难以自足言说的缺憾,从而形成"拟于史传"、"拟于古文"、"拟于绘画"、"拟于戏剧"等"跨界取譬"的修辞批评传统。这种批评传统既针对叙事文本,也针对写人文本。针对写人文本的各种批评术语又常常围绕两个关键词形成会通:一是小说与绘画、古文、戏剧等诸文体所共享的"代言"理论,二是凸显传统小说人物角色表演特征的"态"这一重要范畴。这种传统小说批评既有利于评论者便捷地阐释与评批小说文本,又有益于读者准确地理解并把握小说较之绘画等其他文类在叙事、写人方面的文体优势,还便于当今研究者据此顺藤摸瓜、探本求源,以更好地清点或整理中国的叙事、写人传统。     

论吴人评点《长生殿》

借助对具体作品的评点来表达自己的戏曲观点 ,是我国古代戏曲理论批评的一种形式。不同于金圣叹的隔代批评《西厢记》 ,吴人的评点《长生殿》则是知人论世的典型做法 ;不同于金圣叹的注重于文字赏析 ,吴人的评点则着眼于戏剧特征。在评点中 ,吴人不仅分析了作品的结构形式 ,而且指出了舞台表演应注意的问题     

戏曲选的批评学建构探析

戏曲选是一种重要的戏曲批评形态,蕴藏着重要的戏曲批评学价值。综观流传至今的戏曲选,可以发现戏曲选主要是通过附录、序跋、戏曲选正文中的批注性文字或符号、戏曲选的戏曲作品主体构成和戏曲选对作品的分类与先后排列实现戏曲批评,建构起独具批评特色的戏曲选批评:选评合一,强烈的戏曲辨体意识,多样的戏曲类别区分。     

天心未均：论宋代民生诗中的社会分化

贫富分化历来都为论民生者所重视。自杜甫开创了“朱门酒肉臭，路有冻死骨”的写作程式之后，中晚唐民生诗普遍选择通过戏剧化的贫富对比来达到批判现实、关怀民生的写作目的。进入宋代，政治地位的提高促使士大夫不再以局外人的身份指点江山，而是站在上位者的立场表现出对民众的自觉趋近，将社会视作一个上下牵连的有机整体。同时，他们在政务实践中开拓了视野，对于民间疾苦的认知不再局限于单一的“悯农”,不同职业之间的利益冲突，乃至农人内部的需求分化都被纳入了观察范围。与这些转变相应，宋代民生诗逐渐突破了传统的怨刺模式，在写作内容、价值取向和情感基调方面都形成了自身特色。     

明清戏曲序跋之戏曲搬演论构建研究

作为明清戏曲理论形态之一种,明清残曲序跋构建了以舞台为中心的戏曲搬演理论.其主要表现为场上之曲的创作论、演员的舞台表演论和舞台场景的调度论.它们各具特色,在不同历史阶段各有消长,与明清戏曲论著的对比而言,更容易彰显明清戏曲序跋批评形态构建的独特性及其理论特色.     

汉唐精神的另一侧面——“男悲女怨”的文化解读及其经学观照

向来被认为雄强傲岸的汉唐精神,有着"男悲女怨"式盛世悲音的一面。以司马迁为代表的汉代"士不遇"的悲愤与以王昌龄为代表的大唐"女宫怨"的哀凄集中体现了汉唐精神中的这种"盛世悲音"。站在经学的角度观照"盛世悲音"这个文化现象,可以说它的形成既是封建社会政治矛盾不可解决的结果,也是文人基于文学与经学政治的角色错判形成的块垒式悲怨心理因素造成的。"盛世悲音"作为汉唐精神的另一侧面,给予当今现实深刻的历史启示。     

关于文学批评理论的建构──由张隆溪的《现代西方文论略览》想到的

张隆溪在1983年（读书》上连载的《现代西方文论略览》（以下简称《略览》）共包括九篇较为简短的文章,这些文章分别介绍了西方文论中的精神分析批评神话与原型批评、英美新批评、俄国形式主义与捷克结构主义、结构主义语言学和人类学、结构主义诗论、结构主义叙事学以及后结构主义的消解式批评。应该说,《略览》是当时系统地介绍西方新的批评理论与方法比较早的著作。毕竟那时引进西方文论正处于起步的阶段,因而《略览》也是重在回顾比较,重在介绍引进西方的文学批评理论,以开阔我国文学批评的视野,丰富批评领域。经过了这近二十年的…     

“言志”诗学对中国现代文学的内在影响(英文)

否定与批判“言志”诗学,曾是中国现代文学转型的标志。但从五四新文学开始,“言志”诗学不仅没有被剔出中国现代文学的审美范畴,相反,却借助于西方话语得到合理的传承。“言”救亡图存的启蒙之“志”,与“抒”忧国忧民的个人之“情”,中国现代文学都未摆脱“志”者“大情”、“情”者“小志”的传统思维,具体表现在：主“思”派提倡文学创作的功利意识,进而以“志”代“情”回归“道”统;主“情”派则提倡文学创作的真情实感,进而以“情”传“志”,回归“道”统。中国现代文学的理论与实践,虽然涂抹着光怪陆离的“西化”色彩,但其重新“释道”与巧妙“言志”的本质特征,恰恰表明了它对传统文化的价值认同,而不是简单地抛弃“传统”后走向了“西方”。     

Forgiveness: A Cognitive‐Motivational Anatomy

This work aims to identify the constituents of forgiveness in terms of the forgiver's beliefs and motivating goals. After addressing the antecedents of forgiveness—a perceived wrong—and distinguishing the notion of mere harm from that of offense, we describe the victim's typical retributive reactions—revenge and resentment—and discuss their advantages and disadvantages. Then we focus on the forgiver's mind‐set, pointing to the relationship between forgiveness and acceptance of the wrong, addressing the forgiver's motivating goals, and discussing both their self‐interested and altruistic implications. In so doing we also discuss the role of the forgiver's positive feelings towards the offender, arguing that, however important, they are unnecessary to forgiveness. We finally identify two kinds of forgiveness—conditional and unconditional—suggesting that they are grounded on different notions of “worth.”     

The Intrinsic Influence of the Poetics of Yanzhi on Modern Chinese Literature

否定与批判“言志”诗学, 曾是中国现代文学转型的标志。但从五四新文学开 始, “言志”诗学不仅没有被剔出中国现代文学的审美范畴, 相反, 却借助于西方 话语得到合理的传承。“言”救亡图存的启蒙之“志”, 与“抒”忧国忧民的个人 之“情”, 中国现代文学都未摆脱“志”者“大情”、“情”者“小志”的传统思 维, 具体表现在: 主“思”派提倡文学创作的功利意识, 进而以“志”代“情”回归 “道”统; 主“情”派则提倡文学创作的真情实感, 进而以“情”传“志”, 回归 “道”统。中国现代文学的理论与实践, 虽然涂抹着光怪陆离的“西化”色彩, 但 其重新“释道”与巧妙“言志”的本质特征, 恰恰表明了它对传统文化的价值认同, 而不是简单地抛弃“传统”后走向了“西方”。

关键词: “言志”诗学 “志”与“道” “志”与“情” 古典主义

Rejection and denunciation of the poetics of “yanzhi” (literally “expressing one’s thought or ideals”) was once a marker of Chinese literature’s modern transformation. However, right from the beginning of May Fourth new literature, the poetics of “yanzhi” was not only not cast out of the aesthetic canon of modern Chinese literature but was, on the contrary, legitimately transmitted via Western discourse. Whether modern Chinese writers were expressing enlightenment ideas of saving the nation or voicing their personal feelings for their country and their people, they remained convinced that “zhi” was “feelings” writ large and “feelings” were a lesser form of “zhi.” Specifically, the school stressing the idea that “literature expresses thought” advocated utilitarian literary creation and returned to the traditional Chinese poetics of “yanzhi” by replacing “feelings” with “zhi.” Those stressing the idea that “literature expresses feelings” advocated writing with genuine emotion; they went on to express “zhi” via “feelings,” thus returning to the traditional Chinese way of thought. Both the theory and practice of modern Chinese literature have a strange “Western” tint. Nevertheless, this literature’s essential character of “reinterpreting the ‘dao’ (way)” and sophisticated “expression of thought” or “yanzhi” indicate its value identification with traditional culture rather than the simple abandonment of “tradition” in pursuit of “the West.”     

The transition to caregiving: the experience of family members embarking on the dementia caregiving career

Although there is an extensive literature on dementia caregiving, research on family members' adjustment to the onset of dementia and on the early stage of caregiving is limited. This article describes a phenomenological study based on twenty semi-structured interviews with spouses and adult daughters of someone with early/mild dementia or mild cognitive impairment (MCI). Participants were asked to describe the earliest changes in the parent or spouse and the changes to their everyday lives and in their relationships brought by cognitive impairment. These family members reported taking on many new responsibilities in a highly interactive caregiving process consisting primarily of decision-making and supervision. Many participants reported experiencing frustration, resentment, grief, and relational deprivation, along with increased protectiveness and tenderness towards the person with dementia. Most of the participants were ambivalent about seeking or accepting help from others and seemed to want to maintain the status quo as long as possible. Social workers meeting with families in the context of disclosure of a dementia diagnosis or the early adjustment period may help by identifying their losses, normalizing negative feelings, and helping families envision ways they could use outside help.     

海陆丰赛会演剧考

赛会演剧这一古代文化现象在粤东海陆丰地区至今延续。早在元明之际海陆丰民系形成之始,迎神赛会、演戏酬神习俗已随闽南移民带入,至明中后期及清初,在一些人口稠密经济较发达的通衢大邑,赛会演剧已经蔚然成风。所演之剧早期多为竹马戏、钱鼓舞、白字曲、英歌舞等民间歌舞小戏,后来随着外来南戏正字戏的流行以及白字戏的形成,祭祀演剧渐由正字戏、白字戏、西秦戏等职业戏班唱主角。     

Innovation and Development of Social Structure of Accumulation (SSA) Theory: A Discussion with Lü Shoujun

The social structure of accumulation (SSA) theory is one of the important schools of Western Marxist economics, but China’s theoretical circles do not fully understand its developmental path or its latest research findings. This is reflected in the comments about the SSA School in Lü Shoujun’s paper, “Grasping Intermediate-Level Analysis of Contemporary Capitalism: The Evolution of the French Regulation School’s Theoretical System.” We need to give a clearer explanation of the relation between SSA theory and the French Regulation School. In particular, we need to review the major innovations and developments in SSA theory in recent years, including its theoretical analysis of the 2008 financial crisis, of sustainable SSA (SSSA) theory, and of China SSA (CSSA) theory.     

王国维“境界说”的文化阐释

王国维的境界说是文学批评中一个重要术语,但对其解释却没有一个确定的概念。传统的解释都是从艺术层面,把境界等同于意境。其实,境界并不仅指向艺术,更指向宽广的文化层面。首先,境界要求表达真实的人生体验。其次,境界更是指一种悲壮苍凉的生命情怀。最后,境界亦指向创作主体的人格,只有纯真无伪、人格高尚者才能创作出有境界的作品。王国维的境界最终是一种生命空间、心灵空间的呈现。境界实际是对人的生命质量的考察与品鉴,是艺术境界与生命境界的统一,从这个意义上来说,它已超越了单纯的文艺领域,而达到了生命美学、哲学的层面。     

浅议农村留守老人养老问题

农村留守老人养老问题已成为学术界的一个研究热点。本文从研究农村留守老人养老的意义出发,着重分析了造成农村留守老人养老困难的原因,以及提出解决农村留守老人养老问题的建议。本文认为传统家庭养老功能的衰弱、农村社会保障机制不健全、老人负担增加、老人孤独感增强和他们自身一些问题等五个方面是农村留守老人养老的主要困难。     

儒家理念统摄下的神道教化--论《醒世姻缘传》的神道设教

《醒世姻缘传》中的神道教化始终遵循着儒家的思想传统。由凡入圣的晁夫人是儒家博施济众、仁爱为本的理想化身。晁梁最终选择以孝子终身的生存方式 ,显示出儒家血缘伦理道德在作者心中的崇高地位。晁源、狄希陈与薛素姐的两世孽缘则表明 ,《醒世姻缘传》消化吸收佛教因果轮回观念 ,无非是要强调儒家仁义纲常为本的伦理道德设置不容践踏。作者在神道设教中弘扬儒家道德理想的主观意愿 ,也在一定程度上给作品的写实带来了负面影响