【作者】 刘精瑛；

【导师】 刘祯；

【作者基本信息】 中国艺术研究院 ， 戏剧戏曲学， 2009， 博士

【摘要】 中国文学史著是中国人认识中国文学及戏曲的重要渠道之一。戏曲作为中国文学史著的重要组成部分，是随着20世纪初期中国文学史著的诞生而进入文学史的。在古代，戏曲由于地位低下，在正统文学中是没有位置的。戏曲的变化可以反映出文学史的变化。因此，本论文尝试着对20世纪上半叶各个时期有影响的14部中外文学通史中的戏曲状貌进行研究，以期发现更多有价值的戏曲内容。这对于人们重新认识文学史及戏曲史将有重要的意义。全文共分为三个时期，五大部分。三个时期，分别用三章阐述，外加一个绪论和第四章总结归纳部分。绪论部分主要解释了论文的研究对象、研究现状、研究意义、文学史版本的遴选、戏曲进入文学史著的背景以及早期外国人著的几部中国文学史著对中国文学史著及其戏曲的影响等。第一个时期是指1904年至1919年，即第一章“戏曲走进中国文学史”。本时期主要结合中国最早的两部文学史著：林传甲《中国文学史》(1904年)、黄人《中国文学史》(1904年)来解读戏曲走进文学史的最初形态及特点。林氏文学史著视戏曲为“淫亵之词”，反对戏曲进入文学史。黄氏文学史著支持戏曲进入文学史著，视戏曲为“新文学”、“活文学”。第二个时期是指1920年至1939年，即第二章“戏曲在中国文学史中的新格局”。本时期主要是在“五四”新文化运动和西方进化论的影响下，戏曲逐步成为文学史中的新格局。本期重点研究了6部不同风格的文学史著及其戏曲在成为文学史新格局中所发挥的不同作用：即文学史家及戏曲家吴梅《中国文学史》(1920年)、赵景深《中国文学小史》(1928年)；纯文学史观笔下的胡云翼《新著中国文学史》(1932年)、刘经庵《中国纯文学史纲》(1935年)；早期唯物史观视野下的贺凯《中国文学史纲》(1931年)、郑振铎《插图本中国文学史》(1932年)。吴梅文学史著，关注昆曲，重雅轻俗。赵景深文学史著，由关注雅向关注俗转变，将戏曲视为“纯艺术”。胡云翼文学史著，称元曲为“新兴文学”、明传奇为“通俗文学”。刘经庵文学史著，称戏曲反映了文学的“真面目”。贺凯文学史著，是第一部在唯物史观指导下编著的文学史著。郑振铎文学史著，第一次将戏曲归入俗文学范畴。第三个时期是指1940年至1949年，即第三章“戏曲在中国文学史中的新范型”。本时期主要是讲文学史及其戏曲在经历了第一个时期和第二个时期的艰难成长之后，体例基本成熟，范型基本确立，尤其是戏曲作为文学史著中的新范型已得到社会的认可，而且代表本时期，也同时代表20世纪上半叶中国文学史著及其戏曲最高水平的两部中国文学史著诞生，即林庚《中国文学史》(1947年)、刘大杰《中国文学发展史》(下卷，1949年)。林氏文学史著是诗人锐眼下的文学史及其戏曲，刘氏文学史则是中国文学史新范型的代表之作。第四章主要是对全文的总结、概括、归纳，尤其是对一些规律性的问题进行了宏观性的阐述，如王国维戏曲思想对中国文学史著及戏曲的影响；20世纪上半叶文学史观、戏曲史观演进情况；20世纪上半叶中国文学史与戏曲研究关系之意义等。笔者认为，文学史中戏曲的变化影响着文学史著的变化，文学史著中戏曲形象的变化影响着文学史著形象的变化，戏曲和文学史著的结合，不是简单地在文学史著中加入戏曲内容，而是通过二者的结合，产生了一种新的“质”。因此，只有掌握其变化规律，深入研究其“质”，才能够真正认识戏曲的“真面目”，才能够更好地撰写好今后的文学史著及其戏曲内容。更多还原

【Abstract】 Chinese literary history works is one of important ways for Chinese to know Chineseliterature and opera.As important part of Chinese literary history works,opera joint theworks as they turned out since early 20^th century.In ancient times,because of the lowstatus of Chinese opera,it had no position in the orthodox literature.Changes in operareflects changes in the history of literature.Therefore,This paper attempts to studyliterature history and opera history,opera Situation in 14 General History of Chinese andforeign literature in each period of the first half of 20th century to find more valuablecontent which is important for us to understand literary and opera history.This paper can be divided into three periods,five main parts.Three periods areexpounded,respectively,by three chapters,plus a preface and summary part,ChapterⅣ.Preface explains some of the main aims of the study,research presentation,researchsignificance,the selection of versions of literary history works,background of opera’sentry literary history works and the influence of foreigners’ early Chinese literary historybook to the history of Chinese literature and opera and so on.The first period refers tothe period from 1904 to 1919,the first chapter,“opera entering into the history ofChinese literature.”This period,mainly combined with two Chinese literary historybooks:Lin Chuanjia“History of Chinese Literature”（1904） Huang Ren,“History ofChinese Literature,”explains the initial shape and characteristics of opera into literaryhistory.Lin’s literary history book took opera as“obscene words,”opposing opera toenter the literary history.Huang’s literary history book took opera as“New Literature”,“Active Literature”in support of entry of opera into literature book.The second refers tothe period from 1920 to 1939,that is the second chapter,“the new pattern of opera at thehistory of Chinese literature.”This period mainly explains,under the influence of the“May 4th”New Culture Movement and the western theory of evolution,opera hasgradually become a new pattern in the history of literature.This part focuses on thedifferent roles of six different styles of literary history and opera works played of the newpattern forming in the history of literature:literary historians and opera expert,Wu Mei,“History of Chinese Literature”（1920）,Zhao Jingshen“A Short History of ChineseLiterature”（1928）;pure literature history writer Hu Yunyi“New Book of ChineseLiterature”（1932）,Liu Jingan“Chinese Pure Literature History”（1935）;early historicalmaterialism from the perspective of He Kai“History of Chinese Literature”（1931）,Zheng Zhenduo“Illustrated History of Chinese Literature”（1932）.Wu Mei literary history book,concerned about the Ku opera,focusing on elegance.Zhao Jingshenliterary history book,changing from focusing on elegance to focusing on popular takesopera as“a pure art”.Hu Yunyi literary history book,saying Yuan opera as“newliterature”,Ming legend as“popular literature.”Liu Jingan literary history book believeopera reflecting the“the true face”of literature.He Kai literary history book is the firstbook edited under the guidance of Historical Materialism.Zheng Zhenduo literaryhistory book,firstly,classify Chinese opera into popular literature areas.The third periodrefers to the part from 1940 to 1949,that is,ChapterⅢ“the new paradigm of opera inthe history of Chinese literature.”This period is mainly to introduce,the history ofliterature and opera,after a difficult experience of the first period and second period,style get sophisticated and paradigm get established.Especially,the opera as a newparadigm in literary history book has been accepted by the society.There are twoChinese literary history books which are on behalf of the period achievement,also onbehalf of the highest level of the first half of the 20th century Chinese literary historybook and the opera,namely,Lin Geng,“History of Chinese Literature”（1947）,Liu Dajie,“History of Chinese Literary Development”（second volume,1949）.Lin’s literary historybook is a production of poet’s acuity.Liu’s literary history is representative of the historyof Chinese literature new paradigm.ChapterⅣis to summarize,draw conclusions,generalize the paper,especially generally expound on some regular issues,such asthe impact of Wang Guowei opera thought to the history of Chinese literature andChinese opera;the evolution of the first half of 20th century literature history and operahistory;the research significance of the relationship between opera and Chinese literaryhistory of the first half of the 20th century.I think the changes of opera in literary history affecting the changes of literary historyworks;the changes of opera image in literary history works affecting the changes ofliterary history works image;The combination of opera and literary history works is notsimply to put opera into literary history works,in fact,which created,through thecombination,a new“essence.”Therefore,only mastering the change law and studyingthe“essence”in-depth can make us really understand the opera’s“true face”,writeliterary history works and opera part better in the future.更多还原