摘要
近代关于悲剧的阐释,明显地分前后两期。前期以梁廷柟、黄启太为代表,他们以《桃花扇》、《西厢记》为研究对象,对悲剧探讨的聚焦点主要集中在戏剧结局的诗意联想之中。后期一是以蒋智由为代表,主要从中外戏剧的比较中,倡言悲剧有益于社会的强大感染力,认为我国戏剧界的最大缺憾在于缺少震撼人心的悲剧,提倡创作“陶写英雄之力”的悲剧,以传达民族蒙难时期悲壮的美感;另一代表是王国维,他在引进西方悲剧观念时,汲取了叔本华哲学思想中的悲观主义,体现出了对人生乃至生命价值的近代思考。近代对悲剧观的探讨,不但对于悲剧规范——类型的建立有意义,还对传统的戏剧模式和戏剧精神,特别是传统人生观念和戏剧结构的“圆形意识”构成了巨大的冲击。
In modem times, the interpretations of tragedy were evidently separated into the earlier and the later period. In the earlier period, LIANG Ting-nan and HUANG Qi-tai were major representatives ; Too Hua Shan and Xi Xiang Ji appeared as the investigative object; the poetic imaginative ends of the tragic dramas were the focus of investigation. In the later period, ZHANG Zhi-you suggested that the tragedy should benefit and have a strong influence on society, and dramatists should create heroic tragedies as quickly as possible because of our country lacking of tragedies, while WANG Guo-wei absorbed Schopenhauer's philosophic pessimism and pursued life's value.
出处
《华东师范大学学报（哲学社会科学版）》
CSSCI
北大核心
2002年第4期74-78,共5页
Journal of East China Normal University（Humanities and Social Sciences）
