洪水與女妖：清代武戲《泗州城》的異質疊合與文化張力

李依卓。〈洪水與女妖：清代武戲《泗州城》的異質疊合與文化張力〉。《民俗曲藝》232 (2026.6): 7–49。

Li Yizhuo. “Flood and Female Demon: Heterogeneous Composition and Cultural Tension in the Qing-Dynasty Martial Drama Sizhou City.” Journal of Chinese Ritual, Theatre and Folklore 232 (2026.6): 7–49.

被搬演的真實：1920年代上海時事戲《槍斃閻瑞生》

程筱媛。〈被搬演的真實：1920年代上海時事戲《槍斃閻瑞生》〉。《民俗曲藝》224 (2024.6): 49-89。

Cheng Hsiao-yuan. “Reality on Stage: Executing Yen Ruisheng, a 1920’s Topical Drama in Shanghai.” Journal of Chinese Ritual, Theatre and Folklore 224 (2024.6): 49-89.

《快雪時晴》戲曲服裝設計之符號隱喻及詮釋

王怡美、宋同正。〈《快雪時晴》戲曲服裝設計之符號隱喻及詮釋〉。《民俗曲藝》216 (2022.6): 89-108。

Wang Yi-meei and Sung Tung-jung. “Symbolic Metaphor and Interpretation of Costume Design in Sunlight after Snowfall.” Journal of Chinese Ritual, Theatre and Folklore 216 (2022.6): 89-108.

「南麒北馬」商業競爭之表演藝術策略：以京劇鼎盛期（1917-1938）為例

李湉茵。〈「南麒北馬」商業競爭之表演藝術策略：以京劇鼎盛期（1917-1938）為例〉。《民俗曲藝》202 (2018.12): 133-79。

Lee Tien-yin. "Southern Qi and Northern Ma, a Case Study of Commercial Competition as a Strategy of Theatrical Performance in the Golden Period of Peking Opera, 1917-1938." Journal of Chinese Ritual, Theatre and Folklore 202 (2018.12): 133-79.

論京劇武戲之套曲應用及崑班承演

林佳儀。〈論京劇武戲之套曲應用及崑班承演〉。《民俗曲藝》184 (2014.6): 229-78。

Lin Chia-yi. “On the Song Cycles of Martial Arts Plays and the Succession of Kunqu Performance.” Journal of Chinese Ritual, Theatre and Folklore 184 (2014.6): 229-78.

從外江到國劇：論臺灣民間京劇傳統的形成與失落

徐亞湘。〈從外江到國劇：論臺灣民間京劇傳統的形成與失落〉。《民俗曲藝》170 (2010.12): 143-76。

Hsü Ya-hsiang. “From 'Waijiang' to “National Opera”: Study of Traditional Taiwanese Folk Style Peking Opera.” Journal of Chinese Ritual, Theatre and Folklore 170 (2010.12): 143-76.

京劇《金鎖記》對傳統戲曲的繼承與創新

丘慧瑩。〈京劇《金鎖記》對傳統戲曲的繼承與創新〉。《民俗曲藝》159 (2008.3): 171-204。

Chiu Hui-yin. “The Golden Cangue, Continuation and Innovation of Traditional Chinese Opera.” Journal of Chinese Ritual, Theatre and Folklore 159 (2008.3): 171-204.

文人傳統與女性意識的對話：《青塚前的對話》中的兩種聲音

汪詩珮。〈文人傳統與女性意識的對話：《青塚前的對話》中的兩種聲音〉。《民俗曲藝》159 (2008.3): 205-47。

Wang Shih-pe. “Between the Literati Tradition and the Women's Consciousness: Two Voices from The Dialogue in front of the Green Grave.” Journal of Chinese Ritual, Theatre and Folklore 159 (2008.3): 205-47.