摘要
关于戏曲本体问题的论争已然延伸到戏曲学术思想及研究方法领域,也显示了戏曲研究论域的拓展与问题的深入。自称"前海学派"诸学者及其后学试图从各方面论证自己的立场、方法、观念乃至"贡献",然而,他们所忽视的恰是关于戏曲本体的体认、关于戏曲历史进程的哲学把握。从"剧诗说"到"前海学派",在核心命题和人脉传承之外,其学术路径及其价值立场究竟何在?如果坚信真理在手,那么,关于戏曲的阐释权和话语权也就舍我其谁了,哪还能奢谈什么学术呢?本文愿就此展开对于戏曲本体及生态问题的进一步的思考和回应。
The dispute concerning opera ontology has been spread in the fields of academic ideology and research meth-odology which also indicates the expansion and depth of opera study. The so - called ＂Qianhai Scholars＂ together withits later studies attempts to demonstrate their stand, methods, ideology and even ＂contribution＂. However what theyhave overlooked is exactly the recognition of the opera ontology, and the philosophical overview of opera history. Whatare its academic approaches and values except for the core proposition and inheritance from ＂dramatic poetry＂ to ＂Qian-hai Academic School＂ ？ If one insists on truth is already found concerning the interpretation and discourse power of opera, then how can one discuss academically？ This paper discusses and responds further focusing on the ontology and ecolo-gy of opera.
出处
《贵州大学学报（艺术版）》
2015年第5期35-42,共8页
Journal of Guizhou University Art Edition
关键词
戏曲本体
前海学派
艺术生态
opera ontology
Qianhai Academic School
artistic ecology
