摘要
陈彦新作《喜剧》以双层“套娃”式结构,讲述了喜剧演员贺加贝等人跌宕起伏的人生与情感历程,同时又借此对“喜剧”这一文学类型在商品经济和消费主义潮流中的境遇做出了深刻反思。不论是在人物命运、故事情节还是艺术风格上,《喜剧》又呈现出深刻而崇高的“悲剧”美学特征,“喜”与“悲”的内在艺术张力,使得这部新作具备了丰富的美学意蕴与思想内涵。
Chen Yan’s new work The Comedy,with a double-layer structure tells the story of the turbulent life and emotional history of comedian He Jiabei and others,and also makes a profound reflection on the situation of“comedy”in the trend of commodity economy and consumerism.Whether in terms of the fate of characters,plot or artistic style,The Comedy presents profound and lofty“tragic”aesthetic characteristics and the inner artistic tension of“joy”and“sorrow”which add rich aesthetic meaning and ideological connotation to this new work.
作者
武文宇
WU Wen-yu(Faculty of Liberal Arts, Northwest University, Xi’an 710127, China)
出处
《西北大学学报（哲学社会科学版）》
CSSCI
北大核心
2021年第5期83-88,共6页
Journal of Northwest University：Philosophy and Social Sciences Edition
关键词
《喜剧》
悲剧
游戏本能
思想意蕴
The Comedy
tragedy
game instinct
ideological implication
