1.
Discussion on the Figures of Ungrateful Men in Chinese Opera Literature;
略论中国戏曲文学中的负心男子形象
2.
Necessity and Possibility of Introducing Opera Literature into Modern Literary History;
戏曲文学进入现代文学史写作的必要和可能
3.
Returning to the desk: Concerning conceptual speculations of ancient Chinese drama;
回归案头——关于古代戏曲文学研究的构想
4.
The discussion on the traditional opera and "certain literature in each time";
“一代有一代之文学”观与戏曲身份认同
5.
On the Contribution of Dramas and Novels in Qin Dynasty to the Development of Literary View;
试论清代戏曲、小说对文学史观的贡献
6.
Research on Ancient Opera of the History of Chinese Literature
中国文学史中的古代戏曲研究（1904-1949）
7.
Funetions of Opera Literature on Opera Studies Based on the Analysis of Qu Lv
从《曲律》看戏曲文献对戏曲研究的功用
8.
Directing the Elegance into Teaching--Local drama resources permeating ancient literature teaching;
引雅入教——地方戏曲资源向古代文学教学的渗透
9.
Documentation Value of Opera Scripts and "Script-based Approach to Opera Studies"
戏曲剧本的文献价值与“以戏证戏”
10.
Prefaces of A Comprehensive History of Traditional Chinese Opera and The Ancient Chinese Literature Studies Series;
《中国戏曲通鉴》序·《中国古代文学研究丛书》序
11.
Drama Author s Concept of Privacy and Confucian Philosophy;
戏曲文本作者的仕隐观与儒家出处哲学
12.
On the Academic Achievements and Value of Documents of ZHENG Zen-duo s Arrangement of Ancient Books and Records of Traditional Opera;
论郑振铎戏曲典籍整理的学术成就与文献价值
13.
Research on the Development of Traditional Opera in Ancient China from the Point of View of Catalogue;
从目录学角度探究中国古代戏曲文献之发展
14.
The Representations of the "Parted Mirror" Motif in the Xi and Qu Dramas of the Song-Ming Periods;
“乐昌分镜”母题在宋明“戏曲”文学演绎初探
15.
Three Dramatic Documents Discovered by British Sinologist--Pier van der Loon
英国汉学家龙彼得发现的三种戏曲文献
16.
An Aesthetic Study of Siming Literature;
四明文学形态审美观照——散文、戏曲、小说、民间文学部分
17.
A Further Argumentation of the Literary Phase and Non-Literary Phase in Classical Drama--A Response to Ankuis Criticism;
再论古典戏曲的文学阶段与非文学阶段——答安葵先生
18.
Viewing the Return of Opera Ontology from the Relying on Literature Property--On the Art Ontology of Li Yu′s Opera theory
从文学属性的倚重到戏曲本体的回归——论李渔戏曲理论的艺术本体性