朱生豪莎士比亚戏剧的译介思想和成就

文章通过大量的文献资料，从三个方面全面介绍了朱生豪的莎士比亚戏剧译介过程及其贡献：朱生豪是我国解读说不完、道不尽的莎士比亚的第一人；朱译莎剧质量之高“迄今仍无出其右者”；朱生豪是不屈不挠、立志填补中国文化空白的民族英雄。     

沙可夫的领导艺术

作者对战争年代中国卓越的无产阶级文化战士沙可夫的领导艺术进行了深入的分析和高度的概括：沙可夫在极其恶劣的环境下，以高度的政治智慧、精湛的业务能力和高尚的品质出色地领导了苏区、延安和晋察翼边区的文化事业和戏剧运动，给后人留下许多宝贵的精神财富和无价的启示。     

Drama theory and its relation to game theory. Part 2: Formal model of the resolution process

In a drama, characters' preferences and options change under the pressure of pre-play negotiations. Thus they undergo change and development. A formal model of dramatic transformation is presented that shows how the core of a drama is transformed by the interaction among the characters into a strict, strong equilibrium to which they all aspire. The process is seen to be driven by actors' reactions to various paradoxes of rationality.     

Drama theory and its relation to game theory. Part 1: Dramatic resolution vs. Rational solution

Drama theory differs from game theory in that it does not regard actors' preferences and perceived opportunities as fixed, but as capable of being changed by the actors themselves under the pressure of pre-play negotiations. Thus characters in a drama undergo change and development. A manyperson, multiphase theory of dramatic transformation is presented, showing how thecore of a drama (in the sense of game theory) is transformed by the interaction between the characters into a strict, strong equilibrium to which they all aspire. The process of dramatic transformation is shown to be driven by actors' reactions to various paradoxes of rationality; it is proved that when all these paradoxes have been overcome, a full dramatic resolution has been reached, satisfying actors' emotional and moral demands, as well as the demands of rationality.     

论戏曲现代戏的改革与发展

长期以来,戏曲现代戏所赖以生存的,不是艺术优势,而是题材优势。在反映现实生活方面,其优势无可取代。然而,至今我们的戏曲现代戏仍然在探索、在实验,从理论到实践,从创作观念到艺术技巧等,并没有实质性的突破。     

论程士廉及其《小雅四纪》

程士廉生平史料目前虽然不详,但其作品今存本跋文作者“泥蟠斋”显然是其前辈友人,他称道程“渔猎百家,纵步词林”,可见其乃当时的曲家名流无疑.就思想内容而言,《小雅四纪》继承了汪道昆杂剧注重历史上贵族和文人士大夫风流轶事、暗寓批点的传统.体制上分别由一折南曲构成,即所谓单折戏,实际上是四部独幕剧.作者追求的是文人家班场上演出的观众效果,且特别注重抒情意味浓厚的曲辞,无论从时代剧场还是从文学中的剧诗角度考量,均不失为一种有益的尝试.     

日本NHK大河剧50年兴衰嬗变的阐释与分析

采取对收视率与内容分析相结合的双重手段．研究大河剧50年来的受众策略变化对其收视的影响,为国内电视媒体更准确地接收并处理受众反馈信息,提供了一个有借鉴价值的范例,并以此丰富国内电视节目在受众策略方面的研究。     

The Relationships of On-Site Film-Tourism Experiences,Satisfaction, and Behavioral Intentions: The Case of Asian Audience's Responses to a Korean Historical TV Drama

Despite the growing interest in film-tourism research, little research has explored the extent to which on-site film-tourism experiences influence tourist satisfaction and post-visit behavioral intentions. Within the context of Asian audience's responses to a Korean historical TV drama, Daejanggeum, this article adopted a structured quantitative survey instrument. Exploratory factor analysis identified three salient dimensions to represent the on-site film-tourism experiences: Novelty and Prestige, Beyond Screen Experience and Re-enactment, and Intimacy and Memory. The on-site film-tourism experiences had a significant influence on satisfaction, re-visit intention, and intention to recommend. Novelty and Prestige had the strongest direct effect on satisfaction and intention to recommend, whereas Intimacy and Memory was the main vehicle to influence film tourists' re-visit intention.     

Why is contemporary China still courting concubines? Exploring the reasons for Chinese audiences’ fascination with concubines’ infighting in television dramas

ABSTRACT

This note reports the results of a systematic exploration and evaluation of the reasons underlying the very high popularity among Chinese audiences of a particular television genre featuring infighting between concubines in ancient imperial courts. Self-report questionnaires were completed by 263 respondents to assess the value they perceived to earn from watching this type of drama. Factor analysis identified five categories of experiential value yielded from watching this genre, covering dimensions related to its exquisite visual and audio effects, intriguing plots, and aroused contemplations. Linear regression showed that experiential value positively predicted audience satisfaction with this type of drama and audience satisfaction affected their choice to make it a future leisure activity, despite the potential ban of this genre by the Chinese authorities. The findings suggest that Chinese audiences’ infatuation with dramas featuring concubine infighting expresses a dichotomy of both reflection and inflection of the realities of contemporary social and cultural dynamics, thereby articulating the unique functions of leisure in facilitating this social process.     

论焦循对王国维戏剧研究的影响

近代大学者王国雏治戏曲，深受焦循多方面积极影响。从指导思想看，焦循“夫一代有一代之所胜”进步的文艺发展史观，给予王国维深刻影响与启迪，成为其珍视元曲而撰写《宋元戏曲考》这一权威性不朽之作的理论指导和推动力；从戏曲流派观点看，王国维主张戏剧摹绘真情实景，“字字本色”，反对雕琢、虚伪，崇尚“自然”、“意境”，是在焦氏为代表的清中期以来“本色”论派理论基础上的继承和发展；从审美价值取向看，王国维推重立足世界文学之林极富悲剧意义的元曲杰作，鄙薄大团圆格套，与焦氏审美观一脉相承；从戏曲研究方法看，王国维娴熟掌握了朴学大师焦循以考据学治戏曲之术，并与西学逻辑推演相互影响、制约，完美结合。王国维戏剧研究的巨大成功，多得力于焦循，又有明显的拓展和超越。