谈元曲作家的隐逸情怀

元曲作家普遍地具有隐逸情怀，或是表现为宁静淡泊，或是表现为放荡不羁，但总体上都表示出对功名的不屑，对自适生活的向往。这种隐逸情怀的大量存在有其深刻的历史原因。     

论谭纶对汤显祖戏曲创作的影响

明代名臣谭纶与杰出戏剧家汤显祖同为江西临川名人,虽然年龄差辈,未曾谋面,然而两人却书信往来.青年汤显祖十分仰慕家乡名将谭纶的英雄气概和兵备武功,谭纶的英雄业绩和爱国精神对汤显祖"临川四梦"战争描写产生积极影响,谭纶引进海盐腔、繁荣家乡戏曲艺术的功绩为汤显祖晚年戏曲创作与演出活动提供十分有益的条件.     

从戏剧性看戏剧翻译

长久以来戏剧被归类为文学的一种体裁,戏剧翻译的实践和评价多基于文学角度,而戏剧的本质特征戏剧性却很少纳入译者和翻译评论家的视野．本文从戏剧性出发分析了戏剧的文学体现和舞台呈现对戏剧翻译的影响和要求。     

论新时期电视剧传播媒介的变革

互联网的出现不仅对传统媒体造成了很大冲击,而且改变着电视剧创作趋势、创作者的理念,对电视剧的传播产生了极大影响。     

分化与弱化——试论1990年代探索戏剧启蒙精神之表征

在20世纪90年代,探索戏剧作家在新的政治、经济和文化语境中开始了不可避免的分化。创作的分化,是启蒙精神萎缩的表现。但是,精神言说的命运在使人困惑的同时,并没有终结,戏剧的启蒙精神也没有中止。对于具有启蒙精神的戏剧,我们所希望的是这样一种姿态——退守,而不是销声匿迹。     

浅析山西地方戏曲旅游资源的价值

地域特色文化旅游是当今旅游行业发展的新焦点,山西拥有丰富深厚的地方戏曲旅游资源,具有重要价值。对其进行合理开发利用对弘扬地方文化,拉动区域经济建设,树立地方形象品牌意义重大。     

论北曲对魏良辅改良昆腔之影响

治曲者向从南曲层面考察魏良辅的昆腔改良,而对北曲对改良之影响关注不够。本文由魏良辅习唱北曲的经历出发,对比探析了北曲与魏良辅改良之昆腔在曲律、曲唱、曲论的共同点,指出北曲从分宫别调、考究字声、曲唱技法和经验、协调弦管等四个方面,对改良产生了具体的影响,而融北入南正是促成昆腔质变的重要因素之一。     

The Ethics in Family-themed Yuan Drama

在以弘扬贤达孝义、劝贤劝孝为主要内容的家庭贤孝剧中，元剧作家对“孝”、～睇”这两种传统伦理美德和伦理规范作了新的阐述，指出“孝”、“悌”强调的不仅是下辈对上辈的恭敬和义务，同时还包含下辈对上辈的恭敬和义务的履行与否，这与上辈对下辈的态度、行为、品德有着不可割裂的关系，并强调了“孝”、“悌”在传统男权社会中对于家庭的稳定乃至一国稳定都具有极强的现实意义。     

Towards an adolescent friendly methodology: accessing the authentic through collective reflection

The re-emergence of student voice presents a challenge to schools and researchers to become more responsive to the voice of adolescents in education and in research. However, the poor articulation of the nature of student voice to date is confirmation of the complex and important nature of the personal advocacy and human agency that is involved in all student voice activities. This lack of clarity leads to interpretations of student voice that range in authenticity from token to active and meaningful (Hart, R. 1997. Children's Participation: The Theory and Practice of Involving Young Citizens in Community Development and Environmental Care. Earthscan Publications. London: UNICEF). Researchers who are guided by more traditional methodologies may implement methods that are appropriate for adults yet are not sensitive to the needs and interests of the young person whose perspectives are usually the focus of the research. This research found that while an advocacy and empowerment worldview supports student voice research, adolescents also prefer a methodology that is agentic, socially based, reflective and embodied (Dempster, N., A. Lizzio, M. Keeffe, J. Skinner, and D. Andrews. 2010. “The Contributions of Research Design and Process Facilitation in Accessing Adolescent views of Leadership.” Leading and Managing 16 [2]: 77–89). Adolescent perspectives on research processes and methods are valuable in helping researchers to choose more responsive approaches to sharing understandings with adolescents, so that research designs may be challenging, meaningful and rewarding for all participants.     

"述事则如其口出"还是"如其出口",亦或"如出其口"?—王国维"戏曲意境"说的美学意涵新探

王国维在其《宋元戏曲史》中引入"意境"来探讨元曲之美,并以"写情则沁人心脾,写景则在人耳目,述事则如其口出"来概括元剧之文章"有意境"的特征.其中"述事则如其口出"一句常常被错误引用成"述事则如出其口"或者"述事则如其出口",所以容易对王国维的"戏曲意境"说错误地阐释."述事则如其口出"的引入是王国维"戏曲意境"同"诗词意境"不同的关键.实际上,王国维在"戏曲意境"说中引入"述事"多受尼采悲剧理论的影响,里面贯穿的是尼采的酒神、日神精神,而元杂剧也正是以这种悲剧精神为源动力,以"意兴所至"为创作法则,才得以构建"有意境"的作品世界.