摘要
明代是我国戏曲史上的黄金年代,出现了戏曲史上继元杂剧之后的又一个创作高峰。明中叶后,传奇的创作呈井喷之势,情鬼戏则是明传奇鬼戏中的一种,受才子佳人小说影响,以人鬼相恋为主题。明传奇情鬼戏塑造的鬼魂形象又以女鬼为多,呈现出“阴盛阳衰”的特点。任何文化现象都有其历史渊源。该文以《牡丹亭》和《红梅记》为例,对情鬼戏的概念加以界定,随后以其中的女鬼形象为切入点,探究明传奇情鬼戏中多女鬼形象这一现象与传统鬼神文化思想以及明代中叶以后伴随资本主义经济萌芽而生的以“情”反“礼”的社会思潮的内在关联。
The Ming Dynasty is a golden age in the history of Chinese opera,and there is another peak in the creation after the history of opera.After the middle of the Ming Dynasty,the creation of the drama was a blowout,and the love ghost was one of the ghost drama in the Ming Dynasty,influenced by the novels of talents and beautiful women,with the love of ghosts as the theme.In this drama,the ghost image is mostly female ghosts,showing the characteristics of"more women than men".Any cultural phenomenon has its own historical origin.Taking The Peony Pavilion and The Red Plum Tale as examples,this paper first defines the concept of love ghost drama.Subsequently,taking the female ghost image as the starting point,this study explores the inherent relationship between the phenomenon of multiple female ghost images in Ming legendary emotional ghost dramas and traditional Chinese ghost and god cultural ideas,as well as the social trend of"emotion"instead of"ritual"that emerged with the emergence of capitalist economy after the mid Ming Dynasty.
作者
樊智豪
FAN Zhihao(Xinjiang Normal University,Urumchi Xinjiang,830017,China)
出处
《文化创新比较研究》
2024年第9期10-14,共5页
Comparative Study of Cultural Innovation
基金
2023年新疆师范大学研究生科研创新基金项目“从江南到西域--地域文化视野下的卢见曾诗歌研究”(项目编号:XSY202301044)。
关键词
明传奇
情鬼戏
女鬼
人物形象
《牡丹亭》
《红梅记》
Ming legend
Love ghost drama
Female ghost
Character image
The Peony Pavilion
The Red Plum Tale
