The Contradiction and Discussion Surrounding Xu Fuzuo's View on the Functions of Traditional Chinese Opera and Mao Jin's Compilation of Sixty Operas (Liushi Zhongqu)

Junxiu Wu

doi:10.47297/wsprolaadWSP2634-786545.20250603

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The Contradiction and Discussion Surrounding Xu Fuzuo's View on the Functions of Traditional Chinese Opera and Mao Jin's Compilation of Sixty Operas (Liushi Zhongqu)

6卷第3期

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The Contradiction and Discussion Surrounding Xu Fuzuo's View on the Functions of Traditional Chinese Opera and Mao Jin's Compilation of Sixty Operas (Liushi Zhongqu)
The Contradiction and Discussion Surrounding Xu Fuzuo's View on the Functions of Traditional Chinese Opera and Mao Jin's Compilation of Sixty Operas (Liushi Zhongqu)
College of Liberal Arts, Shantou University, Shantou, Guangdong, 515063, China
2025年6卷第3期页码：210-213
纸质出版日期：2025-06-24
DOI：10.47297/wsprolaadWSP2634-786545.20250603
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(2025). The Contradiction and Discussion Surrounding Xu Fuzuo's View on the Functions of Traditional Chinese Opera and Mao Jin's Compilation of Sixty Operas (Liushi Zhongqu). 文艺发展研究（英文版）, 6(3), 210-213.

Wu Junxiu.The Contradiction and Discussion Surrounding Xu Fuzuo's View on the Functions of Traditional Chinese Opera and Mao Jin's Compilation of Sixty Operas (Liushi Zhongqu)[J].Research on Literary and Art Development,2025,06(03):210-213.
(2025). The Contradiction and Discussion Surrounding Xu Fuzuo's View on the Functions of Traditional Chinese Opera and Mao Jin's Compilation of Sixty Operas (Liushi Zhongqu). 文艺发展研究（英文版）, 6(3), 210-213. DOI： 10.47297/wsprolaadWSP2634-786545.20250603.

Wu Junxiu.The Contradiction and Discussion Surrounding Xu Fuzuo's View on the Functions of Traditional Chinese Opera and Mao Jin's Compilation of Sixty Operas (Liushi Zhongqu)[J].Research on Literary and Art Development,2025,06(03):210-213. DOI： 10.47297/wsprolaadWSP2634-786545.20250603.

摘要

Abstract

There are notable differences in the perspectives on the functions of traditional Chinese opera between Xu Fuzuo and Mao Jin. Xu Fuzuo opposed the notion of using opera as a vehicle for moral guidance and social atmosphere (fēnghuà

roughly "social norms and customs" or "ethos")

while Mao Jin emphasized its didactic role. Despite Xu Fuzuo's adherence to the principle of "authenticity" (běnsè) in his works

they inadvertently exhibited didactic functions

a phenomenon tied to the sociocultural milieu and prevailing trends in opera during the late Ming dynasty. By examining Xu Fuzuo's views on the functions of traditional Chinese opera and Mao Jin's editorial practice in compiling Sixty Operas (Liushi Zhongqu) through the lenses of Reception Aesthetics and Reader-Response Theory

we uncover significant disparities in their perceptions of the textual orientation

functional cognition

and modes of reception concerning traditional Chinese opera. Furthermore

these differences illuminate the tension between "literary appreciation" (ántóu

referring to the appreciation of a written text) and "stage performance" (chǎngshàng

referring to live theatrical presentation) within the late Ming dynasty's conceptualization of traditional Chinese opera.

关键词

Keywords

references

Ming Dynasty Mao Jin. Sixty Operas [M]. Beijing: Zhonghua Book Company, 2007.

Ming Dynasty Xu Fuzuo; arranged by Tan Fan and Zhang Xuan. The Collected Works of Xu Fuzuo [M]. Shanghai: East China Normal University Press, 2022.

(Ming Dynasty) Wang Shizhen. The Complete Works of Wang Shizhen [M]. Shandong: Qilu Publishing House, 2007. (Note: There seems to be a potential error here as Wang Shizhen lived in the late Ming and early Qing dynasties, and the title might need verification in a real - world context, but it's translated as is for the given text.)

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Federal Republic of Germany Hans Robert Jauss. Reception Aesthetics and Reception Theory [M]. Liaoning: Liaoning People's Publishing House, 1987.

Li Lin. A Study on the Educational Concepts in Sixty Operas [D]. Qufu Normal University, 2018.

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Qian Qianyi. Muzhai You Xue Ji (Collected Works of Qian Qianyi) [M]. Shanghai: Shanghai Ancient Books Publishing House, 1996.

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