摘要
本文分析和批驳了把悲观看做一种文化批判形式的现代悲剧观的错误和自我矛盾。文化批判的悲剧观作为一种精英主义的悲剧观,将作为高雅文化的悲剧与日常生活的平庸无奇对立起来,以绝对精神贬低世俗经验,在其本体论意义与精英化倾向、自由与决定论、虚无主义与常胜主义等问题上一再陷入僵局。事实上,崇高的、非凡的与日常的、平庸的是一种辩证的关系,两者之间存在着富于革命性的连续性。在希望的问题上,情况也是如此。悲剧带给人们的是希望,而不是乐观主义,两者的区别在于希望是与失败的经验紧密结合在一起的。
There are several ways in which the modern idea of tragedy is self-contradictory as a form of Kulturkritik.Being an elitist theory,this idea of tragedy makes a high-minded contrast between tragic intensity and everyday banality and often falls into a dilemma when it tries to explain how tragedies manifest both an ontological condition and an elitist tendency,both freedom and determinism, and both nihilism and triumphalism.In fact,there is a dialectic relationship and revolutionary continuity between the sublime and the commonplace.The same is true for hope.At its finest,tragedy instructs us how to hope without optimism. What tragedy brings to people is not optimism,but a hope that cannot be possible without the experience of failure.
出处
《马克思主义美学研究》
CSSCI
2008年第2期16-22,共7页
Research on Marxist Aesthetics
