李渔戏曲用韵研究

发布时间：2018-06-18 04:03

本文选题：李渔戏曲 + 阴声韵　；参考：《西安外国语大学》2017年硕士论文

【摘要】：音韵研究是汉语语音史研究的一项重要内容,本文以明末清初戏曲家李渔为对象,对其流传下来的全部戏曲作品的用韵情况进行了研究。文章主要以《康熙曲谱》为参照,必要时辅于其它曲谱和方法确定韵脚字;参照《中原音韵》整理和归纳李渔戏曲的韵部系统,对李渔戏曲用韵的具体情况进行较为全面的考察和研究,期望弥补前人对他戏曲用韵研究的空缺。由于李渔戏曲作品用韵的整体面貌研究尚属空白,因此,本文的选题便以他的戏曲作品为依据,考察他的戏曲用韵情况。从音韵学的角度研究李渔的戏曲作品,利用这些用韵语料考察这一时期的语音面貌,为汉语语音史近代音研究、方言史研究提供材料。同时,李渔也提出了一套完整的戏曲理论,因此可以把李渔具体戏曲作品用韵和戏曲理论进行对比。通过考察其曲韵的实际情况,以期弥补前人对其曲韵研究的空缺。曲韵的研究需要结合多种方法,“历史比较法”和“历史文献考证法”是音韵学里使用的传统方法,鲁国尧将这两种方法结合了起来,形成了“新二重证据法”,即将文献考证结果与当代方音相互印证,揭示历史语音面貌。本文将李渔戏曲用韵结果同《中原音韵》进行比较,以得出李曲用韵的具体实践情况。再通过古今对比以及通语与方言对比,对特殊押韵性质进行判断。论文写作过程中还使用了韵字系联法、归纳法和算术统计法。本文通过考察得出李曲阴声韵7部,阳声韵4部和4个独立入声韵。将李渔戏曲用韵和《中原音韵》进行了比较,发现二者首先是韵部的分合存在着很大的不同,李曲中阴声韵只有7部,齐微和支思、鱼模韵部已经合用;阳声韵只有4部,其中庚青真文侵寻合韵,记为庚侵部。寒山先天桓欢监咸廉纤合韵,记为寒纤部;李渔戏曲里有4个独立入声韵;同时个别韵部之间还存在互叶的现象。其次韵字的收录情况二者存在着不同。李曲里的特殊押韵现象,笔者从方音入韵、仿古用韵和音近相押的原因对其进行了解释,但由于专业能力有限,还有部分特殊押韵现象存疑。本文的创新之处在于文章的最后一部分,选取了语言学和文学相结合的角度,把李渔的理论著作《闲情偶寄》和《笠翁词韵》与本文研究的李曲具体实践结果相结合,从曲谱和曲韵两方面进行了比较,对李渔戏曲创作在用韵方面有了较为全面的认识。由于李渔所处时代、社会风气及创作目的原因,发现其戏曲创作理论和具体实践存在着相悖的情况,在某种程度上,也反映了理论和实践的辩证关系。
[Abstract]:The study of phonology is an important part in the study of Chinese phonetic history. This paper studies the rhyme of all the opera works handed down by Li Yu, a dramatist in the late Ming and early Qing dynasties. The article mainly refers to "Kangxi Ququ" as a reference, when necessary auxiliary to other music and methods to determine the rhyme character, and refers to "Central Plains Phonology" to sort out and summarize the rhyme system of Li Yu's opera. This paper makes a comprehensive investigation and study on the specific situation of Li Yu's opera using rhyme in order to make up for the vacancy of his opera rhyme research. Because the overall appearance of Li Yu's opera works with rhyme is still blank, therefore, the topic of this paper is based on his opera works, to investigate his opera rhyme situation. This paper studies Li Yu's opera works from the perspective of phonology, and makes use of these rhyme materials to investigate the phonological features of this period, thus providing materials for the study of modern Chinese phonetic history and dialect history. At the same time, Li Yu also put forward a set of complete opera theory, so we can compare Li Yu's specific opera works with rhyme and drama theory. By investigating the actual situation of its rhyme, the author hopes to make up for the vacancy of the previous research on its rhyme. The study of qu Yun needs a combination of many methods. "Historical Comparative method" and "Historical Literature textual Research method" are the traditional methods used in phonology. Lu Guo-yao combined these two methods to form the "New double evidence method". The textual research results of the literature and the contemporary local sound confirm each other, revealing the historical phonetic features. This paper compares the rhyme of Li Yu opera with that of Central Plains in order to get the concrete practice of Li Quyun. Then through the comparison of ancient and modern languages and dialects, the special rhyme nature is judged. In the process of writing, we also use rhyme system, induction and arithmetic statistics. In this paper, we conclude that Li qu Yin rhyme 7 parts, Yang rhyme 4 parts and independent rhyme 4. Comparing Li Yu opera with rhyme and Central Plains rhyme, it is found that there is a great difference between them. There are only 7 rhymes in Li qu, Qi Wei and Zhi Si, fish model rhyme, and yang rhyme are only 4. One of the Gengqing true text invasion to find rhyme, recorded as Geng invasion part. Hanshan congenital Huanhuan Jian Xianlianxianxianhe rhyme, recorded as the cold fiber; Li Yu opera has 4 independent into the rhyme; at the same time, there is a phenomenon between individual vowels mutual leaves. Secondly, there are differences between them in the collection of rhyme characters. The author explains the special rhyme phenomenon in Li qu from the aspects of the local rhyme, the ancient rhyme and the near rhyme, but because of the limited professional ability, there are still some doubts about the special rhyme phenomenon. The innovation of this paper lies in the last part of the article, which combines the theoretical works of Li Yu with the practical results of Li qu, from the angle of the combination of linguistics and literature, by combining Li Yu's theoretical works "casual feeling" and "Li Weng's rhyme of ci" with the practical results of Li qu, which is studied in this paper. This paper makes a comparison between the music composition and the rhyme, and has a more comprehensive understanding of Li Yu's opera creation in the aspect of using rhyme. Because of the reason of Li Yu's times, social atmosphere and creative purpose, it is found that his opera creation theory and concrete practice are contradictory. To some extent, it also reflects the dialectical relationship between theory and practice.
【学位授予单位】：西安外国语大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：H114

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