白若思。〈談宗教性講唱文學在當代中國的傳承與創造：以江蘇省常熟市尚湖鎮余鼎君「講經宣卷」為例〉。《民俗曲藝》181 (2013.9): 167-222。
Abstract
This
article deals with the innovations that took place in the recent period
(1980–2010) in “telling scriptures” performance art, a type of ritual
storytelling that still exists in the Changshu city area of Jiangsu
Innovations
in telling scriptures discussed in this article encompass three aspects: (1)
the changes in organization, length, and elements of assemblies; (2) the
composition of new texts and revision of old texts; (3) the growing
entertaining aspect of performances. I distinguish between the historical
changes that occurred in telling scriptures in general after its revival in the
1980s–1990s and the self-conscious innovations introduced by Yu Dingjun since
the year 2000. I also contextualize the case of Yu Dingjun in the general
history of the development of baojuan
performances in the Lower Yangtze region during
the last two centuries. The article is based mainly on the fieldwork materials
collected in the Changshu area in 2011–2012.
中國江蘇省常熟市尚湖鎮「講經宣卷」（即寶卷的講唱），是當地傳承 長久的一項民間習俗，不時因應民眾日常生活各種需求而舉辦，至今十分盛行。講唱寶卷的人稱為「講經先生」，講經跟當地民間信仰與祭祀神靈的活動有相當密切關係。雖然近來已有學者開始研究常熟地區的寶卷及其講唱方式，但尚未能針對當代講經中出現的種種變化進行詳細的分析與探討。本文主要根據筆者2011至2012年的田野調查，以當地「講經宣卷」傳承人余鼎君 提供的資料為基礎，探討當代尚湖地區講經的特點，試圖補充有關現代寶卷講唱的研究成果。文中介紹現代一種有關講經的活動—「香山完願」，將其過去相關的情況（二十世紀五十年代之前）與現今相互比較，證明講經為適應現時現地社會生活而不斷地更新改變。筆者同時也探討余鼎君對講經技藝的改造，特別是他如何在講經中運用自己整理或新編寶卷文本。回顧江南地區寶卷講唱近期發展史，過去也有不同身份的文人（包括寶卷表演者）改編寶卷文本，可以證明類似余鼎君的講經改造並不罕見。余鼎君的講經既有傳統的繼承也有當代的創造，這對當地講經技藝未來的發展頗具意義。
Rostislav Berezkin . “The Spread and Influence of Chinese Musical Drama in Russia
Also
in Journal of Chinese Ritual, Theatre and
Folklore:
白若思。〈中國戲曲在俄羅斯傳播和影響(1788-1990)〉。《民俗曲藝》191 (2016.3): 109-51。