論戲曲文體文人化中的著作權(quán)意識
發(fā)布時間：2019-03-02 15:37
【摘要】：早期戲曲作者不重視作品的署名權(quán)。明代嘉靖、隆慶以后,戲曲文體文人化程度加深,戲曲刊本開始出現(xiàn)署別號或真名的情況,說明當時的戲曲作者逐漸有了著作權(quán)意識。而宋元南戲在元明兩代刪改過程中,著作權(quán)發(fā)生了轉(zhuǎn)移,如高明、丹丘先生(朱權(quán))等在有意無意之中被認為是一些作品的作者。在戲曲文人化的過程中,文人戲曲家越來越重視戲曲作品的著作權(quán),湯顯祖是代表之一。湯顯祖對改本的激烈態(tài)度促成了晚明戲曲著作權(quán)觀念的發(fā)展。祁彪佳《遠山堂曲品》分別著錄原作與改本,實際是承認了作者和改家各自的著作權(quán)。
[Abstract]:The early opera writers paid little attention to the authorship of their works. In the Ming Dynasty, Jiajing, Longqing, the degree of literary personalization of the opera style deepened, the opera publication began to appear in the case of an alias or real name, indicating that the opera writers at that time gradually had a sense of copyright. In the process of deletion and reform in the Yuan and Ming dynasties, the copyright of Song-Yuan-Nan Opera was transferred, such as Gao Ming, Danchu (Zhu Quan) and so on, who were considered to be the authors of some works consciously or unintentionally. In the process of literate drama, literati dramatists pay more and more attention to the copyright of opera works, Tang Xianzu is one of the representatives. Tang Xianzu's fierce attitude towards the reform contributed to the development of the copyright concept of opera in the late Ming Dynasty. Qi Biujia recorded the original works and revised works respectively, which actually recognized the copyright of the author and the author.
【作者單位】： 東北師范大學文學院;
【基金】：教育部人文社會科學研究青年基金項目“明代文人傳奇在清代的舞臺呈現(xiàn)研究”(16YJC751028)階段性成果
【分類號】：I207.3
[Abstract]:The early opera writers paid little attention to the authorship of their works. In the Ming Dynasty, Jiajing, Longqing, the degree of literary personalization of the opera style deepened, the opera publication began to appear in the case of an alias or real name, indicating that the opera writers at that time gradually had a sense of copyright. In the process of deletion and reform in the Yuan and Ming dynasties, the copyright of Song-Yuan-Nan Opera was transferred, such as Gao Ming, Danchu (Zhu Quan) and so on, who were considered to be the authors of some works consciously or unintentionally. In the process of literate drama, literati dramatists pay more and more attention to the copyright of opera works, Tang Xianzu is one of the representatives. Tang Xianzu's fierce attitude towards the reform contributed to the development of the copyright concept of opera in the late Ming Dynasty. Qi Biujia recorded the original works and revised works respectively, which actually recognized the copyright of the author and the author.
【作者單位】： 東北師范大學文學院;
【基金】：教育部人文社會科學研究青年基金項目“明代文人傳奇在清代的舞臺呈現(xiàn)研究”(16YJC751028)階段性成果
【分類號】：I207.3
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【共引文獻】
相關(guān)期刊論文 前10條
1 王小巖;;論戲曲文體文人化中的著作權(quán)意識[J];中國高校社會科學;2017年02期
2 杝冠至;;明代南京的f蠿4[J];W 家Wf鴻(，
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