| Late Ming Dynasty is a-key-turning developing time of China ancient opera theories. In this period, there are a variety of opera theories whose general characteristic is of original innovation. Based on the time spirit of Late Ming Dynasty and dramatic text identity, this thesis selects four categories of beauty --"Feeling and Ethics", "Elegance and Popularity","Imagination and Reality" and "Flavor and Norm" as the initial study, and tries to overcome the shortcoming of scattered expression of opera theory in Late Ming Dynasty in spite of its flexibility and precision. Linking with the development and evolution of socioculture thoughts, the thesis will take the surface conflict of aesthetic category as descriptive pattern, aiming to sort out the inheritance of different theorists at a successive stage, and thus outline an aesthetic connotation in opera category which took its evolutional course in collision for an accommodation in Late Ming Dynasty. In order to probe into the aesthetic spirit and theory meaning therein and reveal the characteristic and identification of opera ,as well as the maximal goal of traditionally lyrical style on the basis of the general aesthetical logos in artistic pursuit, the thesis truly grasps the particular history status of turning period of opera theories and its inner regularity, preferably embodies the national feature of China Opera Theories in aesthetical aspect. The thesis lays an emphasis on an unity of phenomenal description and theory explanation, a combination of macro assimilation and microscopic analysis together with the reference of composing practice and theoretical perspective. Making more illustrations about some propositions such as "Moral Edification", "Feeling Origin", "True Quality", "Professional Requirement", "Allegory", "Paired Beauty", the thesis tries to integrate the researches of culturology, sociology and others disciplinary to have an in-depth study of China Opera Theories.
|
PDF Full Text Request