| 《笠翁十种曲》的叙事谋略 |
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| 引用本文： | 刘慧芳.《笠翁十种曲》的叙事谋略[J].山西大同大学学报（社会科学版）,2009,23(6):59-61. |
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| 作者姓名： | 刘慧芳 |
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| 作者单位： | 山西大同大学文史学院,山西,大同,037009 |
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| 摘 要： | 李渔是中国戏曲史上第一个真正把戏曲当作叙事文体进行实践的剧作家，他在创作中非常重视戏曲的谋篇布局、情节设置、结尾等叙事技巧，其叙事实践的最大成果便是扬名后世的《笠翁十种曲》。
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| 关 键 词： | 李渔 叙事 结构 |
The Narrative Strategy in Ten Kinds of Tune by Li Yu |
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| LIU Hui-fang.The Narrative Strategy in Ten Kinds of Tune by Li Yu[J].Journal of Shanxi Datong University(Social Science Edition),2009,23(6):59-61. |
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| Authors: | LIU Hui-fang |
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| Institution: | LIU Hui-fang (School of Chinese Literature and History, Shanxi Datong University, Datong Shanxi, 037009) |
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| Abstract: | In the history of Chinese play creation, Li Yu is the first playwright to truly practice producing plays as narratives. He valued in play creating the layout of the play, the arrangement of the plot, and the end of play and so on, and the greatest achievement of his narrative practice is Ten Kinds of Tune. |
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| Keywords: | Li Yu narrative structure |
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