摘要
英伽登的戏剧语言功能研究是其文学作品意向性客体存在方式研究的延续。他依据建构再现世界的两个手段,将语言造体分为三类客体、四种功能、两大类型。他从声调和词语的形式差异来解释再现客体功能的变化,从“现在”与“过去”的客体区分中,提供保持戏剧艺术完整性的考察思路,使得“时间构成”与“层次构成”两个维度在其后期理论中达到了平衡,并以“层次说”和“具体化”理论为依托,在纯文学与戏剧、日常生活与戏剧作品的对比性视野中,实现了两个世界的跨越,显示出其戏剧语言研究的独创性。
Ingarden's study of the function of drama language is an extension of his study of literary works as intentional objects.He divided linguistic creations into three objects,four functions and two categories by their methods to reconstruct and represent reality,reviewed the changing object from the perspective of intonations and words,and provided a new approach to preserve the integrity of theater arts.He balanced the two dimensions of time and hierarchy,and crossed the boundary between literature and theater and that between theater and reality by his theory of hierarchy and concrete.
出处
《文化艺术研究》
CSSCI
2019年第4期53-61,共9页
Studies in Culture and Art
基金
浙江艺术职业学院2018年度院级课题(项目编号:浙艺职院〔2018〕286号)的阶段性成果
关键词
英伽登
戏剧
语言
功能
Ingarden
theater
language
function
