【正文】 【目录】

序··················张锦池　１
引言：清初杂剧之文化境遇···········１
一、“清初”的界定及其意义········１
二、学风之构成理路及其对戏曲的建构····７
三、清初杂剧观念及其展开形态·······１７
上篇　总论
第一章　清初杂剧之体制形态研究········３９
一、曲辞与宾白··············４０
二、文本与音乐体制············４７
三、关目与排场··············５４
四、脚色及其他··············６３
五、舞台演出···············６５
结语···················７０
第二章　清初杂剧之题材及主题建构·······８２
一、兴衰变乱题材·············８４
二、文士际遇题材·············９４
三、世态人情题材·············１０１
四、女性生活题材·············１０７
五、男欢女爱题材·············１１５
六、鬼佛仙道题材·············１１８
结语···················１２１
第三章　清初杂剧之作家构成··········１２９
一、身份与才艺构成············１２９
二、伦际与地域构成············１３８
三、心态与人格构成············１４８
第四章　雅俗之变与清初杂剧的文人化······１６９
一、雅俗之变与杂剧的文体转型·······１６９
二、雅正之美与清初杂剧的艺术构成·····１７５
三、杂剧：在雅俗的转换点上········１９２
下篇　作家论
第一章　遗民人格与吴伟业杂剧创作·······２０９
一、题材本事的选取与改造·········２０９
二、怜才与回家：移民情感的意象表达····２２３
三、皇帝：遗民人格的寓言载体·······２３２
第二章　才子情节与尤侗杂剧创作········２５０
一、怀才：寻求生命的悸动·········２５０
二、伤才：以历史叩问现实·········２５８
三、逞才：杂剧艺术之创构·········２７１
结语···················２８８
一、生寄死归，志士所轻··········２８９
二、歌哭笑骂，皆为文章··········３００
三、慷慨激烈、气畅理该··········３１１
第四章　遗民杂剧作家创作论··········３２７
一、遗民作家的生存与创作·········３２７
二、历史本事与遗民心态的构建·······３３７
三、现实指向与遗民作家的愤激情怀·····３５０
附录：清初杂剧作家作品综录··········３６８
主要参考文献·················４６６
后记·····················４７３