摘要
从经典文化与大众文化碰撞融合的角度重新阐述了元杂剧三国戏的文化意蕴。元剧作家在向三国故事取材的同时 ,大众文化层面的某些东西也随之进入到三国戏中。剧作家的士人身分 ,以雅融俗的思维方式 ,其以史写心的创作本旨 ,又使三国戏印有雅文化的色彩 ,个中寄寓着元代士人群体的复杂文化心理。这从仕隐矛盾心态的投注 ,忠君观念的强化 ,三国人物身分品格的雅化等方面可见一斑。这说明元杂剧三国戏是士人与大众文化心理交融的产物。这种文化层面的碰撞融合 ,影响着三国戏的文化内涵、人物特征与美学风格 。
WT5”BZ]Basing on the tales of the Three Kingdoms depicted in the poetic dramas of the Yuan Dynasty,the author of this paper expounds the cultural connotation of the plays from the angle of the classical culture and popular culture.Both the conflicts between the desire to serve the imperial court as officials and satisfaction to live in seclusion as hermits in the countryside,and the interpenetration of the concepts of the learned men and common people find their expression in the dramas.The fusion of the cultural psychology of the learned men and common people has its effect not only on the cultural connotation,the characterization of the dramatis personal,and aesthetic style of the drama,but on the creation of Mr.LUO Guan zhong’s historical novel,the“Romance of the Three Kingdoms”.
出处
《天津大学学报（社会科学版）》
2000年第1期17-21,共5页
Journal of Tianjin University：Social Sciences
关键词
文学研究
元杂剧
三国戏
经典文化
大众文化
poetic dramas of the Three Kingdoms in the Yuan Dynasty
learned men,common people
cultural psychology
changing the rulgar to refined
