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阮大铖丛考(上) 被引量:10
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作者 郑雷 《华侨大学学报(哲学社会科学版)》 2004年第1期93-101,共9页
Ruan Dacheng was the chief criminal during Southern Ming,he was notorious.That′s why much materials about his life story were deleted.By choosing parts of collected biographies,anthology,Local records and family tree... Ruan Dacheng was the chief criminal during Southern Ming,he was notorious.That′s why much materials about his life story were deleted.By choosing parts of collected biographies,anthology,Local records and family tree,the author ascertains and infers Ruan Dacheng′s family background and basic situation of his early life.Ruan Dacheng was born in August 1587 at Tongcheng,Anhui;and was legally adopted as son of his uncle Ruan Yiding in elder branch of family.In 1598 when he was a boy of 12 years old he moved to Huaining accompany his adopted father.Later on he was substituted by Daqi as Ruan Yiding′s adopted son because of he had no son to continue the family line of elder branch of the family.Since childhood,Dacheng was capabable,experienced and sharp-witted in personal character and in handling affairs which due to the deep lnfluence of Ruan Yiding.Dacheng was benefited a greal deal in poetic prose and traditional opera from his grand uncle Ruan Zihua with whom he also associated.Dacheng′s biological father Ruan Yixun was quiet in mind by nature and pursued Buddha dharma most respectfully and cautiously,this might have certain correlation with Dacheng′s learning Buddhism. 展开更多
关键词 阮大铖 家世 出继 推证
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简论话剧《原野》之改编
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作者 胡非玄 《戏剧之家》 2009年第1期64-67,共4页
从《原野》面世到今天,出现了许多《原野》的改编本,它们或者在文艺样式,或者在主题、人物形象、情节上都发生了变更。概括起来,《原野》的改编经历了三个阶段:社会学改编阶段;再创造改编阶段;重现原著风貌阶段。而这三个阶段都存在着... 从《原野》面世到今天,出现了许多《原野》的改编本,它们或者在文艺样式,或者在主题、人物形象、情节上都发生了变更。概括起来,《原野》的改编经历了三个阶段:社会学改编阶段;再创造改编阶段;重现原著风貌阶段。而这三个阶段都存在着一个共同的现象:重视《原野》之"戏",而忽略《原野》之第三幕。 展开更多
关键词 曹禺 《原野》 改编
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冯梦龙戏曲改编活动的动因
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作者 储著炎 《南京师范大学文学院学报》 CSSCI 2017年第4期122-126,共5页
冯梦龙改编他人剧作,真正动因在于希望借此对当时的剧坛风气进行反拨与修正,从实践层面响应王阳明"删戏"主张,以便重构传奇戏曲的雅乐传统。这种动因决定了无论是冯梦龙的戏曲改编还是创作,都是以伦理教化为目的,与明代中后... 冯梦龙改编他人剧作,真正动因在于希望借此对当时的剧坛风气进行反拨与修正,从实践层面响应王阳明"删戏"主张,以便重构传奇戏曲的雅乐传统。这种动因决定了无论是冯梦龙的戏曲改编还是创作,都是以伦理教化为目的,与明代中后期那些进步文艺家如李贽、汤显祖等人所主张的以浪漫风情超越伦理教化的创作诉求是大相径庭的。所以,虽然经他改编的剧本以便于当场见长,但是思想价值并不高,这是他的戏曲改编容易招致后人批评的主要原因。 展开更多
关键词 冯梦龙 戏曲改编 动因
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一部成功之作——谈《张铁匠的罗曼史》的改编
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作者 徐幼之 《电影文学》 1982年第11期94-95,共2页
读过《电影文学》第七期齐兴家、徐世彦同志根据张一弓同名小说《张铁匠的罗曼史》改编的电影剧本,十分振奋和喜悦。改编本基本上表达了原作的创作意图,无论是人物性格的刻划还是时代精神的呈现,都在原有基础上做了较有成效的发展,... 读过《电影文学》第七期齐兴家、徐世彦同志根据张一弓同名小说《张铁匠的罗曼史》改编的电影剧本,十分振奋和喜悦。改编本基本上表达了原作的创作意图,无论是人物性格的刻划还是时代精神的呈现,都在原有基础上做了较有成效的发展,使作品在真实性、思想性和艺术性方面达到了比较完美的程度。应该说这是一部成功之作。 展开更多
关键词 改编本 罗曼 铁匠 成功 电影文学 电影剧本 创作意图 时代精神
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