中国曲艺与高等教育的关系,或许可用“若即若离、藕断丝连”来描述。上世纪八十年代初,准确地说是1980年6月13日,侯宝林大师被北京大学聘为兼职教授,一度成为文坛、曲坛佳话。可是直到侯宝林大师谢世,曲艺在高校中依然没有成为一个学科。北大当年的延聘活动,只是学界向曲艺大师摆了一个致敬的pose,其形式大于内容。进入新世纪后,随着“非遗保护”“文化传承”“通识教育”“素质教育”等先进理念逐步为世人接受,中国曲艺长期游离于高等教育之外的状况,正在悄然发生变化。加快曲艺学教材建设、学科建设的呼声,也在日益高涨。笔者长期在高校中从 The relationship between Chinese folk art and higher education may be described as The early eighties of last century, to be precise that June 13, 1980, Master Hou Baolin was hired as part-time professor at Peking University, once a literary, altar story. However, until the master Hou Baolin Worship, Qu Yi in colleges and universities still not become a subject. Peking University then engage in hiring activities, but the academic community to the master of the art put a tribute pose, its form is greater than the content. With the advent of advanced concepts such as “non-heritage protection ” “cultural heritage ” “general education ” “quality education ” and other advanced concepts into the new century, Chinese Quyi has long been separated from higher education The situation is quietly changing. Speeding up the construction of Quyi teaching materials and the calls for discipline construction are also on the rise. I have long been in college