電大中國古代文學(xué)專題形考作業(yè)2答案

1、專業(yè)好文檔中國古代文學(xué)專題（2）形考作業(yè)2答案. w/ e; 4 n' ?  ' t+ a! m7 n一、填空題+ b( l& m# p& p1、南戲白兔記寫劉知遠(yuǎn)由流浪漢而成為皇帝的故事，屬于在民間頗受歡迎的發(fā)跡變泰題材。5 m4 l+ k8 m5 l- d2、明代著名劇作家湯顯祖又成為其他劇作的表現(xiàn)對象，如清代蔣士銓的臨川夢就以戲曲形式為湯顯祖作傳。& h- l/ ?4 v8 l2 s, 1 p3、明代是中國戲曲理論發(fā)展的重要時期，著名劇作家南詞敘錄的南詞敘錄是第一部南戲概論性質(zhì)的專著。& q% b+ w8 x8 a4、清

2、初傳奇創(chuàng)作非常繁榮，洪升的長生殿和孔尚任的桃花扇代表了這一階段傳奇創(chuàng)作的最高成就。) w. v( ?7 g0 b. g( h0 . _5、明代很多劇作取材于水滸傳，如李開先創(chuàng)作的寶劍記演林沖被逼上梁山的故事。4 l0 h5 2 u( # m6、梁辰魚創(chuàng)作的傳奇浣紗記是第一部用改革后的昆山腔演唱的劇本，它使昆山腔在戲曲舞臺上迅速流傳開來。0 p! |6 ; 0 a% t" s7、明代很多劇作家追隨湯顯祖謳歌真情，如孟稱舜的劇作二胥記則歌頌了伍子胥滅楚復(fù)仇之孝和申包胥借兵復(fù)楚之忠。* j4 h7 l7 c2 m! v5 j. n5 l. f8、沈璟的南九宮十三調(diào)曲譜" a&am

3、p; f. t! i# x. p; " |9、古代戲曲中常用誤會錯認(rèn)法來結(jié)撰情節(jié)，阮大鋮的春燈謎一劇就以十錯認(rèn)造成一系列的波瀾，堪稱錯認(rèn)法的典范之作。+ r" y  ?- o7 y/ ! e10、清初以李玉為代表的蘇州派劇作家，以戲曲來反映現(xiàn)實(shí)政治和平民生活，李玉、朱素臣等合作的清忠譜是其代表作之一，劇中反映了東林黨人和蘇州人民反抗閹黨魏忠賢的斗爭。8 7 s4 h* u- t9 d二、名詞解釋（共10分，每題5分）+ 4 ' v  i9 d5 l3 b: # n1、小孫屠劇寫開封不得志的文人孫必達(dá)的故事，劇本表現(xiàn)的重點(diǎn)在家庭

4、倫理、兄弟之情。; w+ a# m+ j% f7 # q* n2.吳江派* - u8 |" i+ z  u; j! w0 x" i; 明代傳奇流派之一。領(lǐng)袖人物是蘇州吳江人沈璟。沈璟對音律的重視，對本色的提倡，得到當(dāng)時及身后不少劇作家的響應(yīng)，形成了中國戲曲史上第一個真正意義的流派吳江派。主要作家有沈璟、呂天成、葉憲祖、馮夢龍、袁于令、范文若、卜世臣、沈自徵等人。其中呂天成、卜世臣更是遵守沈璟的創(chuàng)作模式，不敢移動分毫。- o( 7 f+ e' & m* u + |2 y0 z: j/ l3 x! d三、簡答題5 w" ?

5、+ p4 q9 o: t2 a1簡述南戲與北雜劇的不同1 j7 r5 z) i) . v& l首先，在劇作的內(nèi)容上，南戲作品敘事性強(qiáng)，抒情性弱。而且南戲在劇中所表達(dá)的“情”是下層民眾所共有的“情”，作家的個體意識在劇中的表達(dá)不強(qiáng)烈。而北劇作品故事情節(jié)相對比較簡單，劇本的抒情多于敘事，劇中的人物形象也較為單薄。同時劇本中作家的主體意識也比較強(qiáng)烈。0 j. c6 8 |+ v" h其次，語言上，南戲的曲文賓白，多口語俗語，俚俗無文采。而北劇的語言則表現(xiàn)出較高的文學(xué)性。- |2 " m+ w- x3 s: b再次，南北劇作者在身份上的差異，也帶來音樂曲律上的差異。南戲沒有

6、嚴(yán)格的曲律，且受方言的影響，用韻混亂。而北劇作家熟悉聲律韻律，在撰寫劇本時重視曲律，在宮調(diào)、用韻方面均有其規(guī)范。3 l! e5   k# q: j: 4 f. j+ l5 ?4 % % m ) y! i' w7 q- y3 q1 j, j3 l/ _: s2、提示：) c5 u/ t, o' 4 / j' y6 c首先，高明在他的創(chuàng)作中明確提出了“不關(guān)風(fēng)化體，縱好也徒然”的創(chuàng)作思想，強(qiáng)調(diào)作品的社會教育作用，努力嘗試把戲劇這種“小道”提升到教育工具的地位。1 w8 v7 d. ?9 c/ z: p其次，他以他的文學(xué)修養(yǎng)，提高了南戲的文學(xué)品位，

7、并以其作品，改變了南戲的粗糙和簡陋，是南戲得以與雜劇、與文學(xué)史上的其他文學(xué)樣式并駕齊驅(qū)，使南戲由民間進(jìn)入到文人的書房，以此為標(biāo)記，南戲創(chuàng)作邁入到一個新的階段。0 s0 1 |- e9 v* n最后，琵琶記結(jié)構(gòu)形式上的創(chuàng)造，作為南戲創(chuàng)作的范式性作品，給后來的創(chuàng)造以極大的影響。琵琶記采用的雙線結(jié)構(gòu)模式，幾乎成為了后來南戲、傳奇創(chuàng)造的基本結(jié)構(gòu)方式。0 h/ k( q- ; t  j8 k4 j7 q 6 . _3 & o% 0 a5 j3、結(jié)合作品，分析湯顯祖邯鄲記唐傳奇枕中記創(chuàng)作主旨上的差異。9 j: m- w* i$ _( f提示：! k%  &#

8、160;m% t# e  h* z3 y邯鄲記取材于唐人沈既濟(jì)的小說枕中記，但是作了一些改動和發(fā)揮。小說中夢幻部分的表現(xiàn)重點(diǎn)是人生之寵辱、窮達(dá)、得喪、死生。湯顯祖的邯鄲記則著重表達(dá)的是政治的荒唐與黑暗，涉及科舉的腐敗和官場的傾軋，并借盧生的夢境，嘲笑了惡之情。湯顯祖在小說之外還加上了人生家庭遭際的感慨，透露了他在愛子死后的心情。+ d+ n& d5 p2 q* y) b# m : o0 u2 - x$ f0 o" r7 p% k* n4、沈璟的劇作有哪些特點(diǎn)？9 i4 s! p% i- / t( u( h答：內(nèi)容上注意表現(xiàn)市井生活；: z'

9、; a7 s8 e5 $ b1 r: r注意世風(fēng)，注意劇本的道德意義；. z6 j* / |5 k( a2 : m重視劇作的舞臺效果，結(jié)構(gòu)上注意避免冗長、拖沓；/ s  j9 b: o* u3 e形式上表現(xiàn)出雜劇與傳奇的融合；5 u( 5 l6 _6 f, x" w( y0 n語言通俗淺近，并追求詼諧。1 f# k. ?4 h$ f! q4 f$ g1 w* x4 b0 四、論述題+ 5 d4 n7 d  u! h-  : n- c5 i3 l0 x5 d1、張協(xié)狀元是一本負(fù)心劇；4 k" 6 v# d7 a! u"

10、; 1 c南戲荊釵記與張協(xié)狀元等譴責(zé)文人負(fù)心的作品不同，它借書生王十朋和錢玉蓮的愛情故事，贊揚(yáng)了文人在科場得意后對愛情的忠貞。  b4 ; p5 o1 2 h' k! n: 高明琵琶記不再是對文人負(fù)心的批判，不再是對文人忠貞愛情的歌頌，而是對蔡伯喈的故事引發(fā)人們對“婚”與“仕”的道德反思，表達(dá)了文人心中一種普遍的人生困惑。# m0 z$ x. g; / a0 h2、杜麗娘是一個具有至情、執(zhí)著理想的女子：(1)杜麗娘的叫：活環(huán)境令人窒息，這也是那個時代現(xiàn)實(shí)十女性的困境；(2)對愛情的大膽主動追求，因情而死，因情而生；這體現(xiàn)了湯顯祖的至情觀即情可以超越現(xiàn)實(shí)、超越時空。(

11、3)杜麗娘對父母的牽念拄懷，代表了她對現(xiàn)實(shí)社會的禮義的回歸。% y) x8 |; n' c# p) e' p- r湯顯祖是通過杜麗娘形象的塑造來體現(xiàn)自己對“情”的追求的。對于文學(xué)創(chuàng)作，湯顯祖強(qiáng)調(diào)真摯情感的作用。在牡丹亭中，湯顯祖在強(qiáng)調(diào)真情的同時，還表達(dá)了情對現(xiàn)實(shí)的超越。牡丹亭里的杜麗娘并沒有一個現(xiàn)實(shí)中的情人，她為追求夢中情人而死去，又因情而復(fù)生。她不是在現(xiàn)實(shí)的感情中苦惱，而是為夢境而痛苦，她不是死于愛情的被破壞，而是死于對愛情的徒然的渴望。在這里，湯顯祖不僅寫出了社會現(xiàn)實(shí)中的女性的困境：生活中受到重重束縛，行動也受到多方約束，對于愛情，僅僅只有渴望，而無法實(shí)現(xiàn)。同時，湯顯祖更借

12、杜麗娘的形象，表達(dá)了自己的至情觀：“情”可以超越現(xiàn)實(shí)的存在，超越時間和空間。真情是無法為常理所規(guī)定和約束的。"if we don't do that it will go on and go on. we have to stop it; we need the courage to do it."his comments came hours after fifa vice-president jeffrey webb - also in london for the fa's celebrations - said he wanted to meet i

13、vory coast international toure to discuss his complaint.cska general director roman babaev says the matter has been "exaggerated" by the ivorian and the british media.blatter, 77, said: "it has been decided by the fifa congress that it is a nonsense for racism to be dealt with with fi

14、nes. you can always find money from somebody to pay them."it is a nonsense to have matches played without spectators because it is against the spirit of football and against the visiting team. it is all nonsense."we can do something better to fight racism and discrimination."this is o

15、ne of the villains we have today in our game. but it is only with harsh sanctions that racism and discrimination can be washed out of football."the (lack of) air up there watch mcayman islands-based webb, the head of fifa's anti-racism taskforce, is in london for the football association

16、9;s 150th anniversary celebrations and will attend city's premier league match at chelsea on sunday."i am going to be at the match tomorrow and i have asked to meet yaya toure," he told bbc sport."for me it's about how he felt and i would like to speak to him first to find out

17、 what his experience was."uefa has opened disciplinary proceedings against cska for the "racist behaviour of their fans" during city's 2-1 win.michel platini, president of european football's governing body, has also ordered an immediate investigation into the r

18、eferee's actions.cska said they were "surprised and disappointed" by toure's complaint. in a statement the russian side added: "we found no racist insults from fans of cska."baumgartner the disappointing news: mission aborted.the supersonic descent could happen as early a

19、s sunda.the weather plays an important role in this mission. starting at the ground, conditions have to be very calm - winds less than 2 mph, with no precipitation or humidity and limited cloud cover. the balloon, with capsule attached, will move through the lower level of the atmosphere (the tropos

20、phere) where our day-to-day weather lives. it will climb higher than the tip of mount everest (5.5 miles/8.85 kilometers), drifting even higher than the cruising altitude of commercial airliners (5.6 miles/9.17 kilometers) and into the stratosphere. as he crosses the boundary layer (called the tropo

21、pause),e can expect a lot of turbulence.the balloon will slowly drift to the edge of space at 120,000 feet ( then, i would assume, he will slowly step out onto something resembling an olympic diving platform.below, the earth becomes the concrete bottom of a swimming pool that he wants to land on, bu

22、t not too hard. still, he'll be traveling fast, so despite the distance, it will not be like diving into the deep end of a pool. it will be like he is diving into the shallow end.skydiver preps for the big jumpwhen he jumps, he is expected to reach the speed of sound - 690 mph (1,110 kph) - in less than 40 seconds. like hitting the top of the water, he will begin to slow as he approaches the more dense air closer to earth.