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題名 | 重探「務頭」在戲曲批評史上的意義=A Re-Investigation of the Significance of "Wu-T'ou" in the History of Chinese Drama Criticism |
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作者 | 李惠綿; Li, Huei-mian; |
期刊 | 臺大中文學報 |
出版日期 | 20001200 |
卷期 | 13 2000.12[民89.12] |
頁次 | 頁79-126 |
分類號 | 822 |
語文 | chi |
關鍵詞 | 務頭; 作詞十法; 造語; 末句; 定格; 周德清; Wu-t'ou; The Ten Methods for Composing Ch'u; Make sentences; Last sentence; Regulated form; Chou Te-ch'ing; |
中文摘要 | 「務頭」出自元人周德清(1277-1365)《中原音韻》〈作詞十法〉之一,由於周德清並未給予精確的文字定義,因而引發明清以來諸多曲論家不同之詮解,成為戲劇批評中爭議最多的術語。考求「務頭」文字意義,可解為「務力於首要之處」,或「必作如此而不可更易」。故務頭原是創作北曲的一種美學方法,亦即創作者在調、句、字的緊要之處必兼顧語文學、平仄格律和音樂旋律。 本文分為兩節,第一節「周德清務頭論之探析」,就周德清選錄定格四十首散曲的評語中提及「務頭」者加以分析,共有三種類型:第一類「某字務頭」指一句之中某一字、二字或三字,即所謂「詩眼」。第二類「某句是務頭」指一曲之中的「俊語」。第三類「某調是務頭」是就帶過曲或套曲而言。 第二節「明清務頭論之轉用及其衍義」,大抵按照時代先後逐一討論,試圖解釋各家論點,除比較其與周德清異同之處,同時觀照各家如何擴充轉用原創者的意義而成為務頭論的衍義。得知務頭除由北曲轉用於南曲,轉用於講求南曲字調變化之外;更轉用於句未押韻頓歇之處,用於品鑑作家與作品是否為「當行本色」之關鎖,用於戲曲關目情節之關鍵處,於用創作中不可言傳的文學技巧,甚至用於詩詞歌賦時文、古文皆有務頭。 本文探討周德清首創「務頭」的內涵;既橫觀比較各家之論點,且縱觀務頭意義的擴充與演變;希望重探之後能夠觀照「務頭」一詞在戲曲拼評史上的意義。 |
英文摘要 | Wu-t'ou is one of the terms coined by the Yuan drama theorist Chou Te-ch'ing (1277-1356) in "The Ten Methods for Composing Ch'u" of his Chung-yuan yin-yun. As Chou failed to give a precise definition, the term has given rise to quite a few different interpretations by ch'u theorists since the Ming and Ch'ing dynasties, and turned out to be one of the most controversial terms in the history of Chinese drama criticism. It is originally an aesthetic method for the creation of north ch'u. That is, the creator must take care of the literariness, versification and musicality when composing ch'u. The essay is divided into two sections. Section I, "An investigation into Chou Te-ch'ing's Theory of Wu-t'ou," analyzes three types of wu-t'ou in the commentaries of the forty san-ch'u which Chou selected. Type one, "a certain particular character as wu-t'ou," refers to an expression consisting of one character, two or three, i.e. "the eye of a poem". Type two, "a certain sentence as wu-t'ou," indicates a particularly prominent sentence in a ch'u. Type three, " a certain melody as wu-t'ou," designates a set or sets of ch'u. Section II, "The Transference and Derivatives of the Theory of Wu-t'ou in the Ming and Ching," attempts to discuss chronologically one by one the point advanced by each of the theorists. Besides comparing the differences and similarities between their theories and Chou's, it also tries to see how each of them expands the original definition of wu-t'ou. The essay explores the implications of the term, "wu-t'ou," first coined by Chou Te-ching. It not only compares the points made by every theorist, but traces its expansion and evolution. The purpose is to clarify the complications of the term in the history of Chinese drama criticism. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。