完整後設資料紀錄
| DC 欄位 | 值 | 語言 |
|---|---|---|
| dc.contributor.author | 張錦瑤 | |
| dc.contributor.other | Jiin-Yau Chang | |
| dc.date.accessioned | 2020-08-25T07:00:11Z | - |
| dc.date.available | 2020-08-25T07:00:11Z | - |
| dc.date.issued | 2012/10/30 | |
| dc.identifier.issn | 1682-587N | |
| dc.identifier.uri | http://dspace.fcu.edu.tw/handle/2376/2493 | - |
| dc.description.abstract | 本於唐人小說《鶯鶯傳》的王實甫《西廂記》，除奠基於董解元《西廂記諸宮調》外，其文辭、體制、獨唱慣例的突破，不僅開傳奇之先聲，戲曲小說中更有不少仿作、續作、翻案之作與「情理主題」、「西廂故事類型」的作品產生，凡此多不離「情理對峙」的美學課題表現。_x000D_ 綜觀明代戲曲小說「西廂故事類型」之發展，大多以「情理對峙」探討為主。準此，本文由抒情傳統的「文以載道」至「情理對峙」論明代戲曲小說「西廂故事類型」之發展與意義呈現。不僅爬梳出「西廂故事類型」在戲曲小說中之發展梗概，更突顯出社會思潮、文學觀念的進步、抒情傳統「言志」的表現等為「情理對峙」所呈現的意涵。 | |
| dc.description.sponsorship | 逢甲大學 | |
| dc.format.extent | 26 | |
| dc.language.iso | 中文 | |
| dc.relation.ispartofseries | 逢甲人文社會學報 | |
| dc.relation.isversionof | 第十四期 | |
| dc.subject | 情理對峙 | |
| dc.subject | 文以載道 | |
| dc.subject | 西廂記 | |
| dc.subject | 西廂故事類型 | |
| dc.subject | 戲曲小說 | |
| dc.subject.other | qing li dui zhi | |
| dc.subject.other | wen yi zai dao | |
| dc.subject.other | xi xiang ji | |
| dc.subject.other | xi xiang gu-shi lei-xing | |
| dc.subject.other | drama and fiction | |
| dc.title | 「情理對峙」與明代戲曲小說 「西廂故事類型」的發展 | |
| dc.title.alternative | The Development of the Xi Xiang Gu-shi Lei-xing in Ming’s Drama and Fiction: A Prospective of the Qing Li Dui Zhi | |
| dc.type | 期刊篇目 | |
| dc.description.translationabstract | Base upon works of the Ying-Ying Zhuan (The Story of Ying-Ying), famously legendary novel in Tang Dynasty, as well as Dong Jie-yuan’s Xi Xiang Ji Zhu Gong Diao (Master Tung’s Romance of the West Chamber) in Jin Dynasty, Wang Shih-fu’s Xi-Xiang Ji (West Chamber) is a major breakthrough in terms of rhetoric, forms, and ritual of solo performance in Chinese opera and drama. In other words, it itself is a milestone in Ming drama, followed by imitation and extending work in its Ming and _x000D_ later Qing dynasties, together with reflections on previous literature within Chinese drama and fiction. It also enlightens the peculiar theme of the “sense and sensibility” (in Chinese term, qing li zhu ti) and work of the West Chamber’s genre (xi xiang gu-shi lei-xing). In sum, these could be demonstrated as an aesthetic embodiment of the theme “sense vis-à-vis sensibility” (in Chinese term, qing li dui zhi). _x000D_ Overall, the development of the West Chamber’s genre (xi xiang gu-shi lei-xing) within Ming’s drama and fiction is generally modeled by the theme of the “sense vis-à-vis sensibility” (qing li dui zhi). As a result, this research paper deals with the development, meanings, and implications of the West Chamber’s genre, from the discourse upon traditional concept of the “wen yi zai dao” (literally, literature conveys _x000D_ the Sage’s instructions) and later the theme of the “qing li dui zhi”. By and large, the major contribution of this paper is to systematically provide the gist of development of the West Chamber’s genre within Ming’s drama and fiction, and in the meantime to highlight the sociological ideologies and thought as well as the progress made in the pioneering concepts in Chinese literature. The author has also presented the _x000D_ implications that conventionally affective work (in literature term, yan zhi), which has _x000D_ long been overshadowed for centuries, has now re-surfaced in Ming Dynasty. | |
| 分類: | 第14期 | |
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