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在中国有无悲剧的问题上历来争议较多,其原因林林总总不一而足,但主要还在于人们对于中西悲剧审美标准的歧见和认识上的混乱。人们习惯于用西方古代美学理论来框范中国古代悲剧,自然会将我们民族的悲剧艺术传统化为乌有。选择具有原创意义的古希腊悲剧与中国元代悲剧进行比较,在承认元代悲剧与古希腊悲剧存在巨大差异的同时,以两者的人性意蕴为突破口,将其纳入西方悲剧美学的范畴,打破固有的封闭性,使之成为一个在内涵和外延上都更加宽泛的理论范畴,赋予其对中国现代文学的作用和意义,是本文立论的着力点。
There are always many controversies over whether or not there is any tragedy in China. The reason for this is that there are numerous and varied affiliations, but mainly because of the disagreements over the aesthetic standards of tragedies between China and the West. People are accustomed to framing the ancient Chinese tragedy by using western ancient aesthetics theory and will naturally turn the tragedy art tradition of our nation into nothing. This article compares the ancient Greek tragedy with the original meaning with the tragedy of Yuan Dynasty in China. While recognizing the great difference between the tragedy of the Yuan Dynasty and the ancient Greek tragedy, taking the human nature of the two as a breakthrough point, it is incorporated into the category of western tragedy aesthetics and broken The inherent closedness makes it a more general category of theory both connotation and extension, and gives it the role and significance of modern Chinese literature. This is the focal point of this essay.