满腹经纶腔,一曲文雅戏——浅析《香囊记》的文学价值

《香囊记》自问世以来,被视为"厚风俗,正人心"的经典之作,受到文人"孜孜汲汲"的效仿,然而自徐渭《南词叙录》提出"以时文为南曲……其弊起于《香囊记》",其后却少有对此断论加以讨论。对于《香囊记》的文学价值,本文将以剧本为根基,结合创作背景、时代曲风等方面具体分析其思想意蕴与艺术造诣。     

一部拓跋鲜卑的别史——略论《洛阳伽蓝记》史学价值

本文认为杨之在撰写《洛阳伽蓝记》时 ,既重视有关文献记载 ,又注意实地调查 ,采摭旧闻 ,追叙古迹 ,实录成书 ,其记述丰富 ,可信程度高 ,史料弥足珍贵 ;不是孤立地专记佛教寺塔兴废 ,而是以寺庙名胜为纲 ,穿插许多故事 ,与洛阳都市盛衰、拓跋鲜卑所建王朝兴亡联系起来论述 ,深刻地反映了北魏时期佛教文化、社会经济、生活风貌、民族关系以及政局变幻 ,其中不少资料可补《魏书》之不足 ,并为《资治通鉴》等所采用 ;既以细腻的笔触描述了洛阳城内外伽蓝的结构、帝都风物、庭园景色 ,又精炼生动地记载了尔朱氏跋扈等历史事件及拓跋贵族穷奢极欲的生活状况 ,寓严肃的历史题材于文学记叙的笔法之中 ,体例明晰 ,繁简得宜 ,文史并茂 ,在中国史学史上占有一定地位。     

《一曲难忘》——简析肖邦钢琴音乐的民族性

弗里德里克·弗朗西斯克·肖邦(F.Chopin,1810一1849)浪漫主义时期的代表人物之一,他将自己的全部才华、情感和思想献给了钢琴艺术,作品中优美的旋律和富于感情的特性带给人们一种极其纯净的声音享受,因此有钢琴诗人的美誉。肖邦一生创作了大约二百多部作品,其中大部分是钢琴曲,体裁和内容都与波兰有关,和爱国主义相连。这些作品在钢琴音乐发展史中占有独特的位置,他的风格因独特而易于识别,每一部作品乃至每一个乐句无一不显露出他个人的特点。肖邦的钢琴作品由于其鲜明的民族性、独特的个性和深刻的思想内涵,代表钢琴文献上最令人瞩目的辉煌。     

一曲讴歌——赞京剧《锦车使节》

由范钧宏和吕瑞明同志编剧、郑亦秋同志导演的京剧《锦车使节》,已由中国京剧一团在京演出。这是一出反映民族关系的新编历史剧。但其可贵之处,就在于它一反过去京剧中民族争、和与塑造人物上的老套,真正体现了民族平等、民族团结,开创了京剧反映这一主题的新途径,因此,很值得我们祝贺。这出戏写的是,两千多年以前,西汉与乌孙多年通好之后,乌孙老王逝世,新主狂王与汉公主失和,汉宣帝遣使观察动静,却由于种种复杂原因,致使矛盾激化,经过公主与冯嫽和乌孙重臣们的努力,终于息弭变乱,重睦姻好的一段历史生活。     

试评《蒙古秘史》的文学价值

《蒙古秘史》(以下简称《秘史》)继承了民间创作的优良传统并且在它的基础上使蒙古文学向前推进了一步.《秘史》的产生是整个蒙古文学史的一大转折,从此蒙古民族开始有了自己的书面文学.《秘史》虽然从民间创作中吸取了很多的营养,但它作为蒙古书面文学史上的第一部作品,其主要艺术成就在于它的书面创作.《秘史》翻开了蒙古书面文学的第一页,从此蒙古族书面文学逐渐形成了自己的独特的风格和优良传统.它是一部文史不分的历史文学作品.用文学的手法描写了蒙古社会封建化的整个过程.《秘史》奠定了蒙古族历     

《再别康桥》的文学价值与艺术特色

汉语言文学主要对古现代的文学作品进行赏析学习,并分析其中的写作技巧,以此为后续文学写作提供参考。古现代文学作品中大多蕴含着传统中华文化,对后代写作有着较强的指导作用。《再别康桥》作为诗歌中的典型代表,具有较深的研读价值。对该篇诗歌进行学习理解,能够让后人更好地记住徐志摩这一诗人,并可以深入分析其语言特色。本文据此对《再别康桥》中存在的艺术特色及文学价值进行了深入分析,旨在为后续文学写作提供参考。     

一歌一曲总关情——记满族青年歌唱家卢伯楠

身为知名歌唱家、全国青联委员，卢伯楠的时间是紧张的，一些报酬很高的商业演出或既有利又露脸的电视文艺晚会的邀请常年不断地围绕着他，尤其在春节期间，这种邀请更是一个接着一个。然而在今年春节，团中央、全国青联的负责同志找到卢伯楠时，他毅然放弃了其他邀请，积...     

解析扬琴曲——《春》

扬琴是中国民族乐器,是明末清初从波斯传入中国的乐器。随着中国与东亚等地国家的来往,名叫"桑图尔"的乐器经海传入我国,形成最早期的扬琴。后经过在中国四百多年的发展,吸收中国各地民间音乐的特点和历经民间艺人的改造,渐渐形成现在我们所用的扬琴。所以说,扬琴是一个具有世界性的乐器。后世音乐家创作大量扬琴作品,有古典风格、移植作品。近年来,作曲家在吸收西方音乐技法的基础上,结合中国音乐风格而创作的现代风格作品让人眼前一亮,扬琴曲《春》便是现代作品中的一首代表作。本文从艺术风格、演奏手法等方面分析这首现代作品,为扬琴现代风格作品提供借鉴。     

与时俱进的《回族文学》——《回族文学》创刊200期述评

正《回族文学》2014年第6期,正值这本创刊于1979年的文学期刊创刊200期。中国现代文学期刊的发展史,至今已有100余年。先后经历了民国、新中国成立后和改革开放三个历史时期,期间出现的各类文学期刊名目繁多,此起彼伏,但是像《小说月报》这类历经百年而不衰的老牌文学期刊寥寥无几。兴起于一时,终因各种原因昙花一现的文学期刊不在少数。再看百年来的回族报刊史,与其他少数民族相比,回族自进入20世纪以来,就在世人眼中表现出有声有色的民族报刊业创办史。比如,早在清     

《玛尔巴传》——藏族文学宝库中的一颗明珠

作为《米拉日巴传》姊妹篇的《玛尔巴传》,是藏族伟大作家桑吉坚赞(1452——1507)奉献给藏族文坛的又一部杰作。同《米拉日巴传》一样,这部著作不仅在藏族文学史上有着广泛的影响,占有重要地位,而且对研究藏族历史、宗教和文化的发展具有重要的史料价值。     

自我救赎——现代淮戏《小镇》观后感

故事因一位企业家悬赏500万元,寻找多年前救助过他的恩人,使民风淳朴的、平静的千年小镇有了波澜.文章通过对《小镇》主人公朱文轩四个阶段合情合理、合乎人性的心理变化叙述,让观者与朱文轩一起经历"灵魂的过山车",最终坚守做人的底线与原则,正是来自于我国几千年流传下来的优良传统.     

自我救赎——现代淮戏《小镇》观后感

故事因一位企业家悬赏500万元,寻找多年前救助过他的恩人,使民风淳朴的、平静的千年小镇有了波澜。文章通过对《小镇》主人公朱文轩四个阶段合情合理、合乎人性的心理变化叙述,让观者与朱文轩一起经历灵魂的过山车,最终坚守做人的底线与原则,正是来自于我国几千年流传下来的优良传统。     

浅析刘天华二胡各曲《病中吟》

在纷繁的民族音乐星空里，群星斗妍，各展风华。二胡以其独特的音质在中国民族乐器中有着不可撼动的地位，在民乐这片星空中熠熠生辉，经久不熄。本文对刘天华先生创作的二胡经典代表名曲《病中吟》作了具体的分析，该作品在岁月的沧桑中立起了一座不朽的丰碑。     

浅析竹笛曲《喜相逢》的创作风格与演奏体会

冯子存先生是我国北派竹笛音乐的领军人物,对竹笛音乐艺术发展做出了巨大贡献。他对二人台音乐风格的理解和改进是相当卓越的。本文以冯子存名作《喜相逢》为例,主要从创作背景、风格以及个人演奏体会三方面进行系统分析,进而为竹笛音乐研究者提供理论分析材料。     

《圣经》与西方文学——从《圣经》视野解读西方文学研究之一

《圣经》与西方文学存在着根深蒂固的关系,但由于意识形态和文化心理的种种原因,我国在从《圣经》视野解读西方文学方面仍是一个薄弱环节.忽略《圣经》视野,致使在西方文学理解上出现了诸多误读.从《圣经》视野解读西方文学可从《圣经》知识、《圣经》象征、《圣经》观念三方面着手.     

《一曲难忘》--简析肖邦钢琴音乐的民族性

弗里德里克·弗朗西斯克·肖邦(F. Chopin,1810一1849)浪漫主义时期的代表人物之一,他将自己的全部才华、情感和思想献给了钢琴艺术,作品中优美的旋律和富于感情的特性带给人们一种极其纯净的声音享受,因此有“钢琴诗人”的美誉。肖邦一生创作了大约二百多部作品,其中大部分是钢琴曲,体裁和内容都与波兰有关,和爱国主义相连。这些作品在钢琴音乐发展史中占有独特的位置,他的风格因独特而易于识别,每一部作品乃至每一个乐句无一不显露出他个人的特点。肖邦的钢琴作品由于其鲜明的民族性、独特的个性和深刻的思想内涵,代表钢琴文献上最令人瞩目的辉煌。     

还文学一片葱绿--市场经济下文学的价值取向

文坛为了迎合世俗,逐渐走向虚无和荒诞,很多黄色、灰色、黑色的东西充斥文坛,污染了洁净的创作领域.凡是有良知的作家都应该多创造一些有意义的、优秀的文学作品,对文学创作作出明确的价值选择,还文学以绿意.     

《重修大龙兴功德记》及其史料价值

《常山贞石志》卷15收录元人石刻碑文一则，全名《大朝因师南天大上重修真定府大龙兴寺功德记》，碑文为常山居土赵从证所撰，恒阳石匠杨春刻石，宣授辅教大师真定路提都僧录释印从书丹共篆额。这是关于元之际的佛教史，以及藏传佛教传入中原并影响蒙古王室政治活动的十分珍贵的资料。龙兴寺，又名龙藏寺，在真定府境，《金薤琳》记“余近以使事过之，闻府治东二里龙兴寺有古铜佛一躯．崇七十二尺，阁之覆者崇百有三十尺’哪龙兴寺在府治东二里。真定府，五代后唐改镇州所置，宋代治所在真定，即今河北正定县。元改为路，明又复为府。则碑文…     

一个多民族文学融合互动的范本——《述善集》文学文献价值考述

“Tangwu” is an alternative name for the descendants of the Xixia dynasty. In 1227 AD, a number of these Xixia descendants moved inland after the destruction of the Xixia Dynasty by the Mongolians. One group of them migrated to the area near Puyang, Henan Province. Tangwu Chongxi ( Yang Chongxi ) of the Yuan Dynasty compiled the Shu San Ji, which is divided into three volumes: Shansu, Yucai and Xingshi, and appended with the biography of Boyan Zongdao. It reflects the historical origins, social class, living conditions and the relations with the Han people of the descendants of the Dangxiangqiang minority af-ter they moved to Puyang. This book attracted a lot of attention in academic circles, and it was there-fore reorganized and published in 1985 after being treasured by the people for more than 600 years. It has high academic value for its comprehensive his-torical records. We can not only acquaint ourselves with the history of the make-up of the Chinese na-tion, but also research this diversity from multiple perspectives, such as history, nationality and folk-lore . That is why it has drawn so much attention a-mong academic researchers. The book contains po-ems, prose and biographies, which belong to dif-ferent celebrated scholars from different ethnic mi-norities, all of whom had relationships with Tang-wu Chongxi. It is also a typical model of Qiang-Han literature, which is very rare. This paper gives a preliminary exploration on the book, and shows a small part of its comprehensive value. Shu San Ji is not a merely personal collec-tion, but is also different from general literature collections. The compilation of the book took a long time. Shu San Ji Xuxie ( Continuation of Shu San Ji) , written by Zhang Yining, was finished in the 18 th year of the Zhizheng Period in the Yuan Dynasty (1358), which indicates that the Shu San Ji had already been finished by that time . Zeng wuwei chushi yangxiangxian xu ( Presented to Chu Shi Yang Xingxian·Preface ) , written by Wei Su and finished in the 24 th year of Zhizheng ( 1364 ) , suggests that the Shu San Ji had been compiled in-to a book by that time, and that it was compiled with the compositions of social celebrities of the time. However, the Shu San Ji, as it has been handed down to us today, includes the Song Yang-gong Xiangxian gui Tanyuan xu ( Preface of Send-ing Yanggong Xiangxian Back to Tanyuan) by Tao Kai, written in March in the 5 th year of Hongwu in the Ming Dynasty ( 1372 ) . It indicates that Yang Xiangxian kept on collecting articles even after the book was finished. The Xu yangshi yiji ( Preface of Yang’s Last Collection) by Wang Chongqing, writ-ten in the 6th year of Jiajing (1527), indicates that the Shu San Ji was still being written after Yang Chongxi’s death. At the end of the Shu San Ji , Boyang Zongdao zhuan ( Biography of Boyang Zongdao) and Weiti shi (Poems) were collected in the 16 th year of Zhengde in the Ming Dynasty (1529) and in the 16th year of Shunzhi in the Qing Dynasty (1629), respectively. It suggests that the
Shu San Ji had been supplemented and continually recompiled since Yang Chongxi firstly finished his book in 1358. After 271 years, in 1629, the Shu San Ji, as we read it today, was finally comple-ted. Through the basic components of the Shu San Ji,readers can understand that the Tangwu family was a harmonious, multi-ethnic family. A number of multi-ethnic writers spent long periods compos-ing works collected in the Shu San Ji and Tangwu Chongxi was also influenced by China’s diverse culture and traditional Confucian culture. The work is strongly connected with his study in Guozixue. In the late Yuan Dynasty, the restora-tion of the imperial examinations promoted Confucianism’s influence further. Pan Di, as Tang-wu Chongxi’s teacher in Guozixue, wrote most arti-cles in the Shu San Ji, which shows their close re-lationship and his influences on Tangwu Chongxi’s literature and Confucian studies. Tangwu Chongxi and others’ works reflected their sense of admira-tion for and deep feelings for their Dangxiang an-cestors, but more so helped to propagate the con-cepts of Confucian edification, diligence, thrifti-ness and benevolence, and some of them did so in a very polemic way. For example, Boyan Zongdao wrote the Jiefu xu ( preface of “Jiefu”) and Tang-wu Chongxi wrote the Jiefu houxu ( epilogue of“Jiefu”) , which reflect the social reality and ide-ology of all scholars with different ethnic back-grounds at that time. His work, “Tangwu gong-bei” fushi ( Poem inscribed on Tangwu Tablet ) , was written in a plain and authentic way and showed that he always remembered his origins and his ethnic desire to inherit the family’s heritage. Meanwhile , it was also mixed with the popular ide-as of upholding the honor of their ancestors from the central plains and Han areas, which shows the
editorial purpose of the Shu San Ji and also dem-onstrates the value of Chinese multi-ethnic litera-ture and cultural integration.