摘要
日本的中国戏曲研究史既不同于中国学者对本国戏曲史的研究，也不同于日本对西洋各国文学的研究。自大正初开始，盐谷温等以“汉文训读”展开了对中国戏曲的研究；这种传统二战前被京都学派所突破，吉川幸次郎等人依据语言史的观点，建立了一种共时研究的新格局；而战后以田仲一成为代表的戏曲研究则从各种版本所反映的各个时代的观众是如何“接受”戏曲的角度来观察酿出了种种戏剧活动的社会生态，从而建立了戏剧史研究的新框架。
The studies of Chinese drama in Japan are neither the same with that in China, nor the same with that of Western literature in Japan. From the beginning of the Age of Taiso, Shionoya Akira etc. carried on his scholarship of Chinese drama by means of 'Chinese char acters pronounced in a native way'; this scholastic tradition was surmounted by the school of Kyoto in the second world war, when Yoshigawa Kojiro etc. founded a synchronic system of study based on linguistics; After war ,Tanaka Yissei formed a new frame of studies of Chinese Drama by means of criticism of editions and reception theory.
出处
《文学遗产》
CSSCI
北大核心
2000年第3期100-107,共8页
