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アァカサザタダナハバパマヤャラワヮンイィキギシジチヂニヒビピミリウゥクグスズツヅッヌフブプムユュルエェケゲセゼテデヘベペメレオォコゴソゾトドノホボポモヨョロヲ ―

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ا ب ت ث ج ح خ د ذ ر ز س ش ص ض ط ظ ع غ ف ق ک ل م ن ه و ی

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寻找 “蹦蹦戏化旦” : 從《傾城之戀》到《長恨歌》

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https://www.riss.kr/link?id=A35497194

저자

張梅 (평택대학교 국제관계학부 중국학전공)
발행기관
평택대학교(PYONGTAEK UNIVERSITY)
학술지명
論文集(PYONGTAEK REVIEW)
권호사항

Vol.19 No.- [2005]
발행연도
2005
작성언어
Chinese
주제어

蹦蹦戏化旦 ; 婦人性 ; 日常性 ; 典故 ; 時間 ; 隱喩
KDC
041
자료형태
학술저널
수록면

209-216(8쪽)
제공처
RISS

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다국어 초록 (Multilingual Abstract)

This article compares Eileen Cheng's The Romance in the Fallen City and Wang Anyi's. The Everlasting Regret in the three Key aspects of allusions, time and metaphors, using as the point of penetration the fact that the heroines of the two works both take the female role of Bengbeng Opera (the old name for Pingju, a traditional type of opera Shanghai) as their prototype. Through tracing the evolution from The Romance in the Fallen city to The Everlasting Regret, I attempts to find the emergence, development and variation of the prototype of female roles of Bengbeng Opera.

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This article compares Eileen Cheng's The Romance in the Fallen City and Wang Anyi's. The Everlasting Regret in the three Key aspects of allusions, time and metaphors, using as the point of penetration the fact that the heroines of the two works both t...

This article compares Eileen Cheng's The Romance in the Fallen City and Wang Anyi's. The Everlasting Regret in the three Key aspects of allusions, time and metaphors, using as the point of penetration the fact that the heroines of the two works both take the female role of Bengbeng Opera (the old name for Pingju, a traditional type of opera Shanghai) as their prototype. Through tracing the evolution from The Romance in the Fallen city to The Everlasting Regret, I attempts to find the emergence, development and variation of the prototype of female roles of Bengbeng Opera.