摘要
晚明到清代,戏曲观经过了一系列的变化。晚明戏曲观受阳明"心学"影响,大力张扬以"情"为主;清初,随着宋明理学的兴起,戏曲观也由"情"向"理"过渡;乾嘉时期,对以"忠孝节义"为核心的"理"的提倡成为戏曲创作与批评的最高主旨;与此同时,随着礼学的盛兴,戏曲观又相应地强调礼义对"情"的规正作用。晚明到清代戏曲观的渐变充分说明了戏曲观与学术思潮并行不悖的发展趋势。
The drama idea passed a series of changes from late Ming Dynasty to the Qing Dynasty. Drama idea in late Ming Dynasty was affected by Wang Yangming＇ s philosophy, and strong stressed ＂affection＂; at the beginning of Qing Dynasty, along with the rise of the Song and Ming Nero Confucianism, ideas on drama was also in the period of transition by ＂affection＂ to ＂reason＂ ; in QianLong and JiaQing era, advocating the ＂reason＂ with the essence of ＂loyalty, filial piety, chastity and righteousness＂ became the highest thrust of drama creation and criticism ; at the same time, along with the propriety of ritual research, ideas on drama ac- cordingly emphasized ritual ＇ s regulating function on the ＂ affection＂. The slow change of drama ideas from late Ming Dynasty to the Qing Dynasty fully shows the trend that the ideas on drama and academic thoughts parallel.
出处
《哈尔滨师范大学社会科学学报》
2012年第1期85-90,共6页
Journal of Social Science of Harbin Normal University
基金
国家社科基金"清代经学与戏曲"(11XZW035)
关键词
心学
宋学
汉学
情
理
礼
Wang Yangming＇ s psychology
Nero Confucianism in Song Dynasty
sinology
affection
reason
ritual
