摘要
"圆满之趣"是元代戏剧在剧尾处理上呈现出的一道极为普遍的文化景观。其审美生成是我们民族传统审美意向的外化,是创作主体和消费主体审美意向无限趋同的结果。一方面,它是创作主体在"自娱"和"娱人"取向下审美意向行为的主观呈现;另一方面,它还是消费主体在市民口味消费期待下审美意向行为的一种潜在诉求。元代戏剧"圆满之趣"的呈现是中国古典文学作品审美情趣的一次重大转型,极具民族特色和价值。
Happy denouement is a very popular cultural landscape in treating the end of each Yuan drama.Its aesthetic formation is the externalization of the traditional aesthetic intentions of the Chinese nation and the fruit of increasing aesthetic intentions’ convergence of the creators and audiences.On the one hand,it is the subjective representation of creators’ aesthetic orientation choice in the aim of ＂self-entertainment＂ and ＂entertaining others＂.On the other hand,it is the audiences’ potential aesthetic intention under the expectations of the public taste.Happy denouement of Yuan drama is a major transformation of the aesthetic taste of Chinese classical literature and embodies strong ethnic characteristics and values.
出处
《温州大学学报（社会科学版）》
2011年第4期78-82,共5页
Journal of Wenzhou University：Social Science Edition
关键词
元代戏剧
圆满之趣
美学阐释
Yuan Drama
Happy Denouement
Aesthetic Interpretation
