摘要
在国势衰微和西方悲剧及其理论传入的情境当中,中国戏剧界和一些重要思想家对悲剧问题至为关注,形成绵延至今的现代“悲剧情结”。尽管由于“现实批判”和“学理研究”的不同取向及其代表人物个体背景的差异,使“悲剧情结”的具体内容各有不同,但在形式上或总体上却有着共同诉求,即推崇悲剧精神,强调直面人生,展示存在本体和超越现象层面。这些诉求不仅关乎悲剧创作,而且关乎所有艺术生产以及个体心灵净化和民族精神提升。“悲剧情结”所蕴涵的诉求不仅对当时创作产生重要影响,在今天也依然具有发聋振聩的意义。
When western tragedy and its theory were introduced into China, China＇s community of theatre and some important thinkers gave them attention. Now modern “tragic complex” is formed. Although contents of “tragic complex” are different, there are common appeals in form, namely, tragic spirit, facing life, displaying existence and transcendence over phenomena that are canonized. They are concerned with tragic writings, artistic production, individual catharsis and national spirit. “Tragic complex” has real significance even today.
出处
《河北学刊》
CSSCI
北大核心
2005年第5期159-163,共5页
Hebei Academic Journal
关键词
“悲剧情结”
悲剧
鲁迅
王国维
朱光潜
“tragic complex”
tragedy
Lu Xun
Wang Guowei
Zhu Guangqian
