{"created":"2021-03-01T06:45:22.935330+00:00","id":27253,"links":{},"metadata":{"_buckets":{"deposit":"06e02d77-1563-4458-8b30-1a7a3ad10a9d"},"_deposit":{"id":"27253","owners":[],"pid":{"revision_id":0,"type":"depid","value":"27253"},"status":"published"},"_oai":{"id":"oai:repository.dl.itc.u-tokyo.ac.jp:00027253","sets":["46:2942:3090","9:504:2944:3091"]},"item_4_alternative_title_1":{"attribute_name":"その他のタイトル","attribute_value_mlt":[{"subitem_alternative_title":"Late Ming literati’s views on drama"},{"subitem_alternative_title":"馮雪峯在“同路人”論上的接収與形成 : 《革命與知識階級》管見"}]},"item_4_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"1985-03","bibliographicIssueDateType":"Issued"},"bibliographicPageEnd":"193","bibliographicPageStart":"163","bibliographicVolumeNumber":"97","bibliographic_titles":[{"bibliographic_title":"東洋文化研究所紀要"}]}]},"item_4_description_13":{"attribute_name":"フォーマット","attribute_value_mlt":[{"subitem_description":"application/pdf","subitem_description_type":"Other"}]},"item_4_description_5":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"在明代末期至清代初期，有些文人戲曲家或戲劇評論家能够脱離以“大團圓”結局的“老套”。反映江南文人社會裡，慢慢出現一種評價悲劇的新趨向。這種新的藝術理念的萌芽似乎是，在明代後期文人批評西廂記之過程中，逐步發展起來的。本文嘗試根據台北國立中央圖書館所藏明末版本『三先生合評元本北西廂』来研討這個問題。這本書分為五卷，每卷分為四套，每套尾附徐文長，李卓吾，湯若士先生總批。其中，湯評最得注意。內容很過激，表現也非常活潑，予人深刻的印象。其特點如下。1．同情崔鴬鴬張君瑞兩個主角2．譛揚紅娘的慧敏和耐心3．極力斥罵老夫人的狡滑4．主張以“驚夢”結局最引人注意的是最後一点。湯評説：“天下事原是夢…實甫傳其奇，而以夢結之，甚當。漢卿紐于俗套，必欲以榮歸為美，續成一套…欲附驥尾，反坐續貂，冤哉。”這段評論尊重“情”而力斥庸俗規範。這個反俗思想使他覺得，西廂不可以陷入于大團圓結局的俗套之中。這可以算是金聖歎西廂評的先驅。但是，這種傾倒悲劇的趨向，有可能跟當時文人社會会裡瀰漫的悲觀虚無的世界觀很有關係的。當時文人很喜歡一句套話“人生是一大戲場”，其涵意就是“人生如幻，々如夢，很像戲劇”。這種看法會影響到戲曲評論。比方説，另外一個明末文人，徐奮鵬，在他所批定的“槃薖碩人增改定本西廂記”序言＜詩壇清玩小引＞之中，説：“人生一在戲場也，鶯生迷於場中，是居夢境，至草橋一宿，夢而醒焉，夢之時，見是色。醒之時，見是空。人生即情態極變者，皆如此。”。在此可見，‘人生一大戲場’，‘色即是空’，這些悲觀思想造成一種傾倒悲劇結局 的心態。清初出現了金聖難歎的西廂記批評，而且某些悲劇戲曲作品，比如“桃花扇”，“長生殿”，同時湧現。其原因或者可以歸于這些明末以來發展過来的嗜好悲劇的社會風氣。從這個觀點來説，附於『三先生合評元本北西廂記』的湯評，的確是很有價値的。","subitem_description_type":"Abstract"}]},"item_4_full_name_3":{"attribute_name":"著者別名","attribute_value_mlt":[{"nameIdentifiers":[{"nameIdentifier":"59921","nameIdentifierScheme":"WEKO"}],"names":[{"name":"Tanaka, Issei"}]}]},"item_4_identifier_registration":{"attribute_name":"ID登録","attribute_value_mlt":[{"subitem_identifier_reg_text":"10.15083/00027244","subitem_identifier_reg_type":"JaLC"}]},"item_4_publisher_20":{"attribute_name":"出版者","attribute_value_mlt":[{"subitem_publisher":"東京大学東洋文化研究所"}]},"item_4_source_id_10":{"attribute_name":"書誌レコードID","attribute_value_mlt":[{"subitem_source_identifier":"AN00170926","subitem_source_identifier_type":"NCID"}]},"item_4_source_id_8":{"attribute_name":"ISSN","attribute_value_mlt":[{"subitem_source_identifier":"05638089","subitem_source_identifier_type":"ISSN"}]},"item_4_subject_15":{"attribute_name":"日本十進分類法","attribute_value_mlt":[{"subitem_subject":"772.22","subitem_subject_scheme":"NDC"}]},"item_4_text_21":{"attribute_name":"出版者別名","attribute_value_mlt":[{"subitem_text_value":"The Institute of Oriental Culture, University of Tokyo"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"田仲, 一成"}],"nameIdentifiers":[{"nameIdentifier":"59920","nameIdentifierScheme":"WEKO"}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2017-06-12"}],"displaytype":"detail","filename":"ioc09705.pdf","filesize":[{"value":"1.4 MB"}],"format":"application/pdf","licensetype":"license_note","mimetype":"application/pdf","url":{"label":"ioc09705.pdf","url":"https://repository.dl.itc.u-tokyo.ac.jp/record/27253/files/ioc09705.pdf"},"version_id":"78dd2298-326e-426c-992c-9adc90bd25ca"},{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2017-06-12"}],"displaytype":"detail","filename":"ioc09705a.pdf","filesize":[{"value":"66.3 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