| 元明"度脱剧"异同辨 |
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| 引用本文： | 沈敏. 元明"度脱剧"异同辨[J]. 武汉大学学报(人文科学版), 2005, 58(1): 58-63 |
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| 作者姓名： | 沈敏 |
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| 作者单位： | 武汉大学,文学院,湖北,武汉,430072 |
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| 基金项目： | 国家社科基金项目(99BZW011) |
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| 摘 要： | 度脱剧在元、明两代较为繁盛。明代度脱剧数量超过前代,其作者阵营也进一步扩展。明代度脱剧中的主要人物接受度脱时并不是处于困境中,相反,此时他们正处于比较顺利的时期;元杂剧度脱剧剧情模式较为一致,而明度脱剧的情节很难用一种模式概括;元代度脱剧的总体基调是一种对社会、对人生状况的无奈与激愤。明度脱剧的基调逐渐转向冲淡、平和。
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| 关 键 词： | 度脱剧 人物处境 情节模式 情感基调 |
| 文章编号： | 1671-881X(2005)01-0058-06 |
| 修稿时间： | 2004-09-10 |
Discrimination of Similarities and Differences of Dutuo Opera(Dutuoju) of Yuan and Ming Dynasties |
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| SHEN Min. Discrimination of Similarities and Differences of Dutuo Opera(Dutuoju) of Yuan and Ming Dynasties[J]. Wuhan University Journal (Humanity Sciences), 2005, 58(1): 58-63 |
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| Authors: | SHEN Min |
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| Abstract: | The Dutuo Opera was very popular in both Yuan and Ming dynasty. The amount of the Dutuo Operas of Ming dynasty was more than the number of the former dynasty, and the number of the writers expanded too. When compare the Dutuo Operas of Ming dynasty with the same kind of former dynasty, we can conclude. Firstly, the situation of the protagonist was favoring when he or she was dutuo by some supernatural beings. Secondly, the pattern of scenario was hardly generalized by one sort. At last, the fundamental key of emotion turned to be diluted and mild. |
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| Keywords: | Dutuo Opera situation of characters pattern of scenario fundamental key of emotion |
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