What are the economic aspects of the literary works of the Yuan, Ming and Qing Dynasties
In the study of opera in 2001, a group of articles related to "tragedy" stood out, including: Chen Wenxin's "On " "The Tragic Character of Pipa Ji" (47), Yu Jiangfu's "A Brief Discussion on the Definition and Causes of Family Ethical Tragedy in Yuan Zaju" (48), Li Minxing's "Exploration of the Tragic Meaning of "Jiaohong Ji"" (49), etc. Chen Wen believes that Gao Ming, the author of "Pipa Chronicles", was actually a hermit who experienced many risks in the officialdom and finally "saw the world", and "Pipa Chronicles" is actually a song with the theme of "the pressure of fame and fame". The tragic song is that it was fame that destroyed Cai Bojie and Zhao Wuniang's "family happiness." "The subtext of the tragedy is to advocate the hermit ideal and believe that a secluded life is suitable for the intellectuals of that era." This is a quite innovative view.
In addition, Kang Baocheng's "The Origin of the Opera Terms "Ke" and "Jie" and the Rituals of Northern Opera and Southern Opera" (50) and Zhang Xiaochun and Chen Cailing's "The Philosophical Concept of "People-Oriented"-On the Theory of Ancient Opera Directors" "(51) is also quite original. The former analyzed the origin of the terms "Ke" and "Jie" and pointed out: "1. The word 'Ke' in Zaju comes from Taoist rituals. 2. 'Jie' was first used in ancient etiquette to assist guests in saluting, and to communicate between the host and the guest. Puppet opera is used as a form of praise and guidance, which was directly inherited by early Nan opera. 3. The different origins of "ke" and "jie" indicate that the performances of Zaju and Nan opera have absorbed different rituals and movements. The difference in style is inherent." This research direction is obviously a unique approach, and the latter is also somewhat deviant from the norm, focusing on the field of ancient opera director theory that few people have touched upon, and pointed out: "The most fundamental point of the opera director's philosophy is to put people first, attach great importance to the role of actors, and regard actors as the real masters of the opera stage." Moreover, this concept "is in line with the traditional Chinese cultural thinking model of 'harmony between man and nature' and the opera stage The laws of art.” However, this argument may require further proof.
In terms of poetry research, Yuan Mei’s research is a beautiful sight throughout the year. Many scholars have written articles to discuss it. Among them, Wang Yingzhi worked the most diligently. He published "Yuan Mei's Seven Years" There are nine special papers including "Review of County Magistrate" (52), "Review of Yuan Mei's Resignation" (53), "Yuan Mei and Qing Dynasty Poetry Criticism" (54), "Artistic Characteristics of Yuan Mei's Spiritual Poetry" (55), etc. Demonstrated outstanding performance. In the last article above, he pointed out: "Yuan Mei's poems can be called spiritual poems and have obvious artistic characteristics. These artistic characteristics make Yuan Mei's spiritual poems unique and unique in the creative atmosphere of Qianlong's poetry circle, which worshiped the Tang Dynasty and modeled the Song Dynasty. "It has become one of the few poems in the history of poetry in the Qing Dynasty that truly has its own identity." His poems have four obvious characteristics in art, namely, "the ordinary and trivial selection of materials, the flexibility, novelty, and delicacy of the poetic imagery, and the humor of the mood." , harmony, and line drawing techniques and colloquialism." At the same time, the author also dialectically pointed out: "Yuan Mei's poems do have flaws," so his creative achievements "cannot be overestimated as much as his "Xingling Theory" poems. "The theory is profound and broad." In addition to Wang Yingzhi, relevant articles include Qian Jing's "Relationship between Yuan Mei's Poetry and the History of Academic Thought in the Ming and Qing Dynasties" (56), Zhang Liandi's "Poetic Feelings Value Truth, Poetry Skills Value Skills: Yuan Mei's "Spiritual Spirit" "Analysis of "Shuo" (57), Zhou Xindao's "A Preliminary Study of Yuan Mei's Literary Theory: Also on the Relationship with the Tongcheng School" (58), etc.
Echoing the research on Yuan Mei, the research on the spiritual poet Zhang Wentao is also a hot topic. Papers in this area include: Li Mei's "Interpretation of Zhang Wentao" (59), Zhao Qingyuan and Yu Dan's "Inheriting and Development of the "Spirit Theory" from Zhang Wentao's Love Poems" (60), Feng Suiping's "Qing Dynasty" Xingling School Poet Zhang Wentao’s Trip to the Lianyun Plank Road" (61), Sun Zhuohong's "The Natural Reveal of True Sentiment: On the Positive Significance of Zhang Wentao's Boudoir Love Poems" (62), Sun Zhuohong and Zhan Hanglun's "Ten Quatrains of Zhang Wentao from the Qing Dynasty" "Review of Eight Schools" (63) and so on.
Similar to Wang Yingzhi, Chen Wenxin’s research on Ming poetry is also quite extensive. He has published five articles including "On the Relationship between Poetry and Music in Ming Dynasty Poetics" (64), "On the Internal Disputes among the Mainstream Schools of Ming Dynasty Poetry" (65), and "From Style to Verve" (66). In the article "From Style to Verve", he used the situation of Wang Meng's poetry in the Ming Dynasty as a starting point to carefully analyze the evolution process of the differentiation and independence of the theory of verve from the theory of style, and made an important contribution to this important phenomenon of poetics in the Ming Dynasty. A convincing explanation.
In 2001, the research on Sanqu and Ci in Yuan, Ming and Qing Dynasties was relatively deserted, but there are still many excellent works, such as Tao Ran's "On the Musical Background of the Decline of Yuan Ci" (67), the article starts from "Ci is essentially Starting from the basic point of "a kind of musical literature and art", it points out that "the most widely sung folk music in the Yuan Dynasty is no longer the traditional Yan music, but is more popular, fresh and lively, absorbing some of the advantages of Ci music and making it more popular." "Northern and Southern music that is suitable for the appreciation of the citizens." Therefore, "the decline of poetry and music in the Yuan Dynasty and the rise of music determined the non-mainstream status of Yuan poetry." The alienation of poetry and music resulted in a lack of lyrics and singing techniques. Loss and other reasons "further accelerated the decline of Ci". The article grasps the close relationship between words and music, and the discussion is extremely unique and moving.
In addition, Liu Bocang's "On the "Song of the Four Seasons" in Yuan Sanqu" (68), Wu Guofu's "Quanzhen Religion and the Dilution of the Satirical Spirit of Yuan Sanqu" (69), Zhuge Yibing's compilation intention of "Ci Zong" and its Papers such as "Value" (70) and Ji Zhuping's "On Nalan Xingde's Frontier Poems" (71) are also very valuable