《風月錦囊》研究

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題名:	《風月錦囊》研究
作者:	陳洛嘉;Chen, Luo-Jia
貢獻者:	中國文學系
關鍵詞:	徐文昭;進賢堂;風月錦囊;Xu Wenzhao;Jinxian Tang;Fengyue Jinnang
日期:	2017-01-23
上傳時間:	2017-05-05 17:10:01 (UTC+8)
出版者:	國立中央大學
摘要:	明代徐文昭所編的《風月錦囊》，現存明嘉靖癸丑（1553）年書林詹氏進賢堂重刊本，是保存南戲戲文相當重要的曲籍。本研究在前人考訂《風月錦囊》的研究成果上，進一步分析探討《風月錦囊》選錄曲文的原則，透過《風月錦囊》選錄的劇作與各明刊本進行比較，窺探《風月錦囊》摘彙的情形。　　第一章緒論。第二章從圖書著錄與編纂體例，概述《風月錦囊》書籍情形。第三章就《風月錦囊》續補首卷選錄時興散曲的主題內容，觀察編者選錄的旨趣，並進一步分析曲作的表現手法，窺探選錄的原則。第四章探討《風月錦囊》劇曲摘選情形，透過與各明刊本的比對，掌握《風月錦囊》摘錄的情形與原則。就其摘錄原則，進一步觀察其他選錄的劇本，試圖全盤了解《風月錦囊》摘彙情形。第五章從《風月錦囊》選錄的劇本體製與搬演兩個方面探討。體製方面，明嘉靖年間編刊的《風月錦囊》選錄的北曲雜劇，其體製受南曲影響的程度。《風月錦囊》選錄的南曲戲文，是否已經進入所謂的「傳奇」階段，還是仍保留早期南曲戲文的樣態？舞臺演出方面，明萬曆年間流傳的坊刻本，已然經過文人整理，成為供人閱讀的案頭劇本，而《風月錦囊》為舞臺演出重要的劇本選集，本章同時探討其選錄的劇本與案頭劇本之間的差異情形。第六章結論。 ;Xu Wenzhao’s “Fengyue Jinnang” from Shulin Zhan’s Jinxian Tang reprint in Guichou Year of Jiajing in Ming Dynasty (1553) plays as an important opera anthology of Nanxi (southern opera). In this study based on previous researches about “Fengyue Jinnang”, the researcher investigates further the opera-selecting disciplines with comparisons of selected opera from “Fengyue Jinnang” and other opera in Ming Dynasty. After an introduction in Chapter one, the researcher describes “Fengyue Jinnang” with perspectives from the categories, stylistic rule and layout in Chapter two. In the following Chapter three, the researcher observes the editor’s selecting purport by investigating content of popular Sanqu (literary song) in the complementary first volume of “Fengyue Jinnang” and further explores the selecting principle by analyzing techniques of expression in the opera. Later, in Chapter four, comparisons between selected opera and others in Ming Dynasty show conditions and principles adopted in the selection of “Fengyue Jinnang”. Being based on the selecting principles, observations of other selected drama scripts are expected to bring a comprehensive understanding of the selection. In Chapter five, the investigation goes through two sections: drama script construction and its performance of “Fengyue Jinnang.” Regarding to the construction, based on how the Nanqu (southern music) influences the Beiqu Zaju (variety opera with northern music), whether the selected Nanqu opera in “Fengyue Jinnang” have stepped into Chuanqi (a form of Chinese opera) or still remain the initial Nanqu- form. As for the performance, the mill block-printed edition of “Fengyue Jinnang” in Wanli Years in Ming Dynasty has become closet drama scripts by the intellectual. Also, “Fengyue Jinnang” as an important drama script anthology in stage performance, scripts differences between the selected and mill block-printed are investigated in this chapter. At the end, a conclusion comes in Chapter six.
顯示於類別:	[中國文學研究所] 博碩士論文

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