《紫钗记》在明清时期的文本传播
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摘要
梳理《紫钗记》的文本传播,不仅有利于促进其现代传承,还具有文献价值。文本传播是戏剧传播的根本,《紫钗记》在明清时期的文本传播包括全本、选本和评点本。全本传播是选本传播和评点传播的保证,通过对全本版本和种类的分析,可以快速把握其传播和演变的脉络。选本传播大致反映出《紫钗记》在戏曲舞台上的演出和受欢迎程度,评点传播由读者对《紫钗记》的阅读反馈构成,起到引导读者认识剧作思想内容和艺术价值的作用。
Combing the text propagation of The Purple Hairpinis not only beneficial to promote its modern inheritance,but also has the value of literature.Text dissemination is the fundamental of theatrical communication,and the text dissemination of The Purple Hairpinin the Ming and Qing dynasties included the entire,selection and annotation.The entire communication is the guarantee of the dissemination of the selection and the dissemination of the criticism,and through the analysis of the entire version and type,the context of its propagation and evolution can be quickly grasped.The selection spread roughly reflects the performance and popularity of The Purple Hairpinon the stage of opera,and the dissemination of the commentary is composed of readers' reading feedback on The Purple Hairpin,which plays the role of guiding the readers to understand the ideological content and artistic value of the plays.
Combing the text propagation of The Purple Hairpinis not only beneficial to promote its modern inheritance,but also has the value of literature.Text dissemination is the fundamental of theatrical communication,and the text dissemination of The Purple Hairpinin the Ming and Qing dynasties included the entire,selection and annotation.The entire communication is the guarantee of the dissemination of the selection and the dissemination of the criticism,and through the analysis of the entire version and type,the context of its propagation and evolution can be quickly grasped.The selection spread roughly reflects the performance and popularity of The Purple Hairpinon the stage of opera,and the dissemination of the commentary is composed of readers' reading feedback on The Purple Hairpin,which plays the role of guiding the readers to understand the ideological content and artistic value of the plays.
引文
[1]翟笑千.“临川四梦”传播研究[D].郑州:河南大学,2017.
[2]毛效同.汤显祖研究资料汇编[M].上海:上海古籍出版社,2016.
[3]周育德.汤显祖剧作的明清改本[J].文献,1983(1):21-41.
[4]蔡应龙.潜庄删订增补紫玉记[M].上海:上海古籍出版社,1986.
[5]王卫民.吴梅戏曲论文集[M].北京:中国戏剧出版社,1983.
[6]郑振铎.郑振铎文集[M].北京:人民文学出版社,1988.
[7]吴敢.《紫箫记》《紫钗记》散出选萃论略[J].昆明学院学报,2011,33(1):49-52.
[8]吴新雷.《紫钗记》昆曲演唱史略[J].中国古代小说戏剧研究丛刊,2010(00):19-28.
[9]聂付生.论晚明文人评点本的价值和传播机制[J].复旦学报(社会科学版),2003(5):135-140.
[10]周锡山.《牡丹亭》注释汇评[M].上海:上海人民出版社,2017.
[2]毛效同.汤显祖研究资料汇编[M].上海:上海古籍出版社,2016.
[3]周育德.汤显祖剧作的明清改本[J].文献,1983(1):21-41.
[4]蔡应龙.潜庄删订增补紫玉记[M].上海:上海古籍出版社,1986.
[5]王卫民.吴梅戏曲论文集[M].北京:中国戏剧出版社,1983.
[6]郑振铎.郑振铎文集[M].北京:人民文学出版社,1988.
[7]吴敢.《紫箫记》《紫钗记》散出选萃论略[J].昆明学院学报,2011,33(1):49-52.
[8]吴新雷.《紫钗记》昆曲演唱史略[J].中国古代小说戏剧研究丛刊,2010(00):19-28.
[9]聂付生.论晚明文人评点本的价值和传播机制[J].复旦学报(社会科学版),2003(5):135-140.
[10]周锡山.《牡丹亭》注释汇评[M].上海:上海人民出版社,2017.