碩士 / 國立成功大學 / 中國文學系碩博士班 / 101 / Scholars knew that Li Yu’s dramas were mutative and innovative, but only few of them were aware of repeated patterns behind the innovations, not to mention the concepts of play over there. Li Yu was adept at writing scripts and directing dramas, just like playing games. He wrote down the patterns, but not in the name of “play”. However, we could try to induce the concepts of play from Li Yu’s drama theories and his drama scripts.
The main purpose of this paper was to find out the concepts of play from Li Yu’s drama theories and his drama scripts, such as updating itself in repeated patterns, concerning about the audiences, using the healing effect of play.
That is not the only way to comprehend Li Yu’s drama theory by reading headlines of “The Occasional Notes with Leisure Motions”. We could interpret his words in a particular light of play. If possible, the understanding of play in Li Yu’s drama theory should be improved and used for drama scripts analysis.
Li Yu’s concepts of play were multivariate and profound. In the history of Chinese literary and artistic theories, Li Yu’s concepts of play had made a big leap. In the contemporary western fields of literature, art, psychology and philosophy, there was no one can equal compare with him. Through a new era of interpretation and argumentation, this paper tried to take an objective view of Li Yu’s drama scripts and theories, and attempted an equitable evaluation of them.
| Identifer | oai:union.ndltd.org:TW/101NCKU5045055 |
| Date | January 2013 |
| Creators | Su-PingChen, 陳淑萍 |
| Contributors | Mei-Hua Kao, 高美華 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 136 |
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