论文部分内容阅读
释名是南戏学术史研究中历来被忽视但却重要的环节,古籍中的名称在客观上呈现了南戏的特性与发展轨迹,但古人的偏见造成了记载的碎片化进而割裂了南戏的整体概念。近代戏曲研究萌生后,学人开始重新审视历史文献中的南戏名称,释名成为了南戏研究的预设语境,南戏的概念也从古时破碎状的平面而渐变成了相互关联的立体图示。20世纪50年代,由于政治背景与学术思想的转型,名称研究的路径由辨证进入了整合。1980年代的学术反思催生学界对学术传统与系谱的追溯,南戏名称的阐释步入了“正名”式的总结,这一过程进一步深化了南戏的学术意义,最终完整地塑造了南戏的学科概念。释名的进程映衬了百年南戏学术史的理路,并直接推动了南戏学术概念的演进。
The name of the release is a traditionally overlooked but important link in the study of Nanxi academic history. The title in the ancient books objectively shows the characteristics and development of the Nanxi opera. However, the prejudices of the ancients resulted in the fragmentation of records and the fragmentation of the overall concept of Nanxi . After the initiation of modern Chinese opera, scholars began to reexamine the name of South opera in historical documents, which became the presumed context for the study of South opera. The concept of Nan opera also gradually changed from the fractured plane in ancient times to an interdependent one Illustration. In the 1950s, due to the transformation of political background and academic thought, the path of name study entered the integration from dialectics. The academic introspection in the 1980s gave birth to the tracing of academic traditions and genealogies in the academic circle. The interpretation of the name of the South opera entered into a “rectification of names.” This process further deepened the academic significance of the Nanxi opera and finally shaped the discipline of Nanxi opera concept. The process of releasing the name paves the way for a hundred years of academic history of South Opera and directly promotes the evolution of the academic concept of South Opera.