汪詩珮。〈再論《張協狀元》――兼及戲文的發展與主題〉。《民俗曲藝》140 (2003.6): 47-81。
Wang
Shih-pe. “Re-examination of Chαng Hsieh chuαng-yüαn with Some
Problems about Hsi-wen.” Journal
of Chinese Ritual, Theatre and Folklore 140 (2003.6): 47-81.
Abstract
《張協狀元》是現存最旱的一部完整戲文，學界許多研究成果主要奠基在錢南揚先生的《永樂大典戲文三種校注》與《戲文概論》之上。本文則嘗試由錢氏的校注與論證為思辨起點，兼及部分學者之啟發，重新檢視《張協狀元》的年代問題。並且，由於一般將此戲視為戲文初期之作，故本文亦將同時處理戲文發展的階段問題，探究其名實之成形。最後，針對學界經常將《張協狀元》歸類為典型的宋元負心戲這一點，擴及戲文的主題思想與情節走向，提出個人對於負心與團圓之淺見。
Chang Hsieh chuang-yüan is
the earliest complete text of hsi-wen
still extant today. Most studies on this play are based on the results of
Ch'ien Nan-yang's Yung-Ie ta-tien hsi-wen
san-chung chiao-chu and Hsi-wen
kailun. This paper re-examines the completion date of Chang Hsieh chuangyüan, beginning with Ch'ien's annotated edition
and his arguments, and proposes some inquiries that are inspired by other later
scholars. Since most scholars referred to this play as the work from the
beginning stage of hsi-wen, this
article will also look into the stages of development of hsi-wen and trace its forming process. Finally, since Chang Hsieh chuang-yüan is often
regarded as a typical work fu-hsin
hsi-wen (love-betraying plays), this paper will expound its subject matter
and plot strategy and give a new perspective on the betrayal and the happy
ending.
Also
in Journal of Chinese Ritual, Theatre and
Folklore:
汪詩珮。〈文人傳統與女性意識的對話：《青塚前的對話》中的兩種聲音〉。《民俗曲藝》159 (2008.3): 205-47。
Wang Shih-pe. “Between the Literati
Tradition and the Women's Consciousness: Two Voices from The Dialogue in front of the Green Grave.” Journal of Chinese Ritual, Theatre and Folklore 159 (2008.3):
205-47.
汪詩珮。〈文心百變與經典轉化：從《荊釵記》到《比目魚》〉。《民俗曲藝》167 (2010.3): 221-70。
Wang Shih-pe. “The Transformation
of the Classics and the Invention of Playwriting: From Jingchaiji to Bimuyu.” Journal of Chinese Ritual, Theatre and
Folklore 167 (2010.3): 221-70.
汪詩珮。〈文本詮釋與文化翻譯：元雜劇《老生兒》及其域外傳播〉。《民俗曲藝》189 (2015.9): 9-62。
Wang
Shih-pe. “Textual Interpretation and
Cultural Translation: Yuan Drama Lao
Sheng Er and Its Transmission to England