CAJ | 학술논문

乾嘉学派扬州代表性人物焦循对扬州所演花部尤其是悲剧的赞扬,体现了文人身份的审美内涵,尤其首次提出花部具有＂忠孝节义＂的特点,可视为抗衡官方话语的重要策略之一。焦循对花部悲剧的审美,不仅与花部剧作者及其观众所理解的悲剧审美不同,而且同时代文人的悲剧审美差别较大。这与各自不同的身份,以及他们对社会的理解和面对社会压力的反映不同有关,同时体现出焦循文人悲剧审美在扬州剧坛具有开放性、鲜明性和时代性等重要特征。
건가학파양주대표성인물초순대양주소연화부우기시비극적찬양,체현료문인신빈적심미내함,우기수차제출화부구유＂충효절의＂적특점,가시위항형관방화어적중요책략지일。초순대화부비극적심미,불부여화부극작자급기관음소리해적비극심미불동,이차동시대문인적비극심미차별교대。저여각자불동적신빈,이급타문대사회적리해화면대사회압력적반영불동유관,동시체현출초순문인비극심미재양주극단구유개방성、선명성화시대성등중요특정。
QianJia School of Yangzhou representative figures Jiao Xun praise floral played of Yangzhou are especially tragic,Literati identity embodies the aesthetic connotation.In particular,first proposed the floral characteristics of ＂devoted,filial,moral integrity,justice＂,can be regarded as one of the important strategy to contend official discourse.Of Jiao Xun on tragedy floral aesthetic,not only with the floral drama of its audience to understand the tragedy aesthetic,and different form the the contemporary literati tragedy aesthetic.This is related to a different identity,as well as their understanding of the social and the face of social pressure reflect.Jiao Xun literati tragedy aesthetic,also embodied in the the Yangzhou dramatic world has an important feature of the open,clear and times.