高濂词、曲、剧之融通及其研究意义

发布时间：2018-06-25 22:30

本文选题：高濂 + 词曲剧　；参考：《文学遗产》2017年01期

【摘要】：明代词曲家高濂的词、曲、剧创作表现出相互融通之特点:高濂词中77%为联章体,作为曲家,他更多接受的是联章与曲的承接链,以曲式的铺排来展现词中的闲逸之趣;高濂对散曲投入颇深,故形成惯性而间接影响到其艳情词的曲化元素的融入,既细腻入情又直陈流利;高濂《玉簪记》的形成和曲词风格皆与词体有着密切关联。对高濂进行文体融通之研究,既顺应了明代词曲统观的特殊背景,又在词曲文体互动研究方法论上具有启示意义,并为认识明代复杂的词曲互动现象提供了一个典型的范例。
[Abstract]:Gao Lian's ci, song and drama creation in the Ming Dynasty showed the characteristics of mutual integration: 77% of Gao Lian's ci poems were associated with Zhang style. As a composer, he accepted more of the chain of undertaking of the combination of Zhang and qu, and displayed the ease of interest in the ci with the arrangement of the form of music. Because of his deep investment in scattered songs, the formation of inertia and indirect influence on the integration of the qu elements of his affectionate words are both delicate and fluent, and the formation of Gao Lian's Book of Hosta and the style of qu ci are closely related to the style of ci. The research on the style blending of Gao Lian not only conforms to the special background of the concept of ci poetry and song in the Ming Dynasty, but also has enlightening significance in the methodology of the research on the style interaction of ci and qu, and provides a typical example for the understanding of the complex phenomenon of the interaction of ci and qu in the Ming Dynasty.
【作者单位】：黑龙江大学明清文学与文化研究基地;
【基金】：国家社会科学基金项目“明代词曲互动研究”(项目编号12BZW047) 黑龙江大学博士基金项目阶段性成果
【分类号】：I206.2

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