摘要
目前学界对明清之际士人心态的探讨,多以"遗民"或"贰臣"的身份进行归类,但"遗民"身份并不能等同于"遗民心态",这种概念先行而形成的文人集体意识无形中简化了其易鼎之际的焦虑。文人在观剧及与伶人交往时,曾立足于重建"自我认同"的心路历程,将易代之感融入观剧诗中,其中既有自饰的倾向,又有不自觉的心灵写照,均依托于戏曲发展的成熟,进而形成了明清之际观剧诗的独特之处。
Current discussion of the mentality of scholars at the turn of Ming and Qing dynasties classifies it to＂adherents＂or＂renegade Official＂status, but the＂adherents＂status cannot be equated with＂adherents＇ mentality＂, which simplifies its collective unconscious anxiety on the change of dynasties with concept formed first. Scholars stand in the position of reconstruction of＂self-identification＂when they go to the theater and communicate with the actors. They combine emotions of dynasty change with theatre going, in which there is a self modification tendency and unconscious self reflection. It relies on the maturity of the development of drama, which leads to the uniqueness of theatre going at the turn of Ming and Qing dynasties.
出处
《求是学刊》
CSSCI
北大核心
2016年第3期131-137,共7页
Seeking Truth
关键词
观剧诗
明清之际
士人心态
theatre going poetry
late Ming and early Qing
scholars＇ mentality
