| 明前期戏曲理论教化特征论 |
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| 引用本文： | 闵永军.明前期戏曲理论教化特征论[J].天中学刊,2011,26(6):55-57. |
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| 作者姓名： | 闵永军 |
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| 作者单位： | 黄淮学院文化传媒学院,河南驻马店,463000 |
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| 摘 要： | 明代前期的戏曲理论，在批评倾向上主张戏曲应具有道德教化色彩，伦理教化功能；在戏曲政策上规定了“义夫节妇”的演剧方向。藩王重臣论曲时提出了“有裨世教”的主张，一些丈人论曲也表现出道德教化的倾向。戏曲理论教化色彩的浓厚与思想界程朱理学一统天下的时代氛围密不可分。
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| 关 键 词： | 明前期 戏曲理论 承前启后 教化倾向 |
Enlightenment Tendency of Opera Theory in Early Ming Dynasty |
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| MIN Yong-jun.Enlightenment Tendency of Opera Theory in Early Ming Dynasty[J].Journal of Tianzhong,2011,26(6):55-57. |
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| Authors: | MIN Yong-jun |
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| Institution: | MIN Yong-jun(Huanghuai University,Zhumadian Henan 463000,China) |
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| Abstract: | The opera theory in early Ming Dynasty has the tendency to educate the public from moral and ethical perspectives, which reflects the guiding direction of ＂YiFuJieFu＂ （loyal husband and wife）. Some Princes and Minister advocate of being beneficial for social education, which the literati agree with at that time. The feature of moral education in early Ming Dynasty opera theory is inseparable with Cheng ＆Zhu＇s neo-confucianism. |
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| Keywords: | early Ming Dynasty Opera theory transition education tendency |
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