CAJ | 학술논문

元代的爱情婚姻剧或以爱情婚姻为主要情节的剧作,多呈现这样一个特点：女性形象变得主动勇敢、坚定执着,男性形象也由负心薄幸变得痴情至诚。但是与女性相比,男性还是表现出了一定程度的被动与怯懦。文章用西方实证主义文艺理论家丹纳的艺术创作及其发展三要素：种族、环境、时代理论对这一现象进行了阐释,从而论证了元杂剧中男女爱情角色所发生的转变。
원대적애정혼인극혹이애정혼인위주요정절적극작,다정현저양일개특점：녀성형상변득주동용감、견정집착,남성형상야유부심박행변득치정지성。단시여녀성상비,남성환시표현출료일정정도적피동여겁나。문장용서방실증주의문예이론가단납적예술창작급기발전삼요소：충족、배경、시대이론대저일현상진행료천석,종이론증료원잡극중남녀애정각색소발생적전변。
Yuan Drama of love and marriage or drama with this as its plot displays such a feature： The female image becomes tenacious and brave,the male image becomes also from being ungrateful and lacking in right feelings to infatuatedly sentimental and complete sincerity.But the male image is timid and overcaoutious and shows certain degree of passivity compared with the female.To explore the reason,the Chinese nation and the race quality is playing a latent role,and natural and social environment causes the male to be timid and overcautious.The paticular thought of Yuan dynasty and culture atmosphere,customs and habits,are the main cause forming female the determined character.This agrees with the three factors of Taine,who is the west positivism literature theoretician.Therefore the main body of this thesis is about the reason for the characteristics of love and marriage in Yuan Dynasty Drama.