摘要
亚里士多德在《诗学》中主要讨论了悲剧艺术,提出悲剧的核心是对行动的模仿。利科在亚氏悲剧观的基础上提出:模仿不仅仅属于悲剧,而且是广义叙事的核心要素。然而,模仿除了是对行动的模仿,还涉及对行动世界的前理解,以及观众与作品的关系。通过梳理利科对模仿的三种含义的说明,我们看到了一个更加广义的叙事,一个超越了悲剧,甚至超越了一般意义上写故事的叙事。这种叙事涉及人对现实的不断理解和在欣赏作品之后重新理解现实,并且这两者形成了一个更大的循环。
Aristotle mainly discussed the art of tragedy in Poetics and put forward that the core of tragedy is the imitation of action.On the basis of Aristotle’s view of tragedy,Ricoeur put forward that imitation not only belongs to tragedy,but also is the core element of generalized narrative.However,in addition to the imitation of action,imitation also involves the pre-understanding of the action world and the relationship between audiences and narrative works.By analyzing Ricoeur’s description of the three meanings of imitation,a broad narrative that transcends tragedy has gained profound insights.This narrative involves people’s constant understanding of reality and re-understanding of reality after appreciating narrative works,and these two form a larger hermeneutic cycle.
作者
施周祺
SHI Zhou-qi(College of Philosophy,Law&Political Science,Shanghai Normal University,Shanghai 200234,China)
出处
《齐齐哈尔大学学报（哲学社会科学版）》
2023年第11期54-58,共5页
Journal of Qiqihar University(Philosophy & Social Science Edition)
关键词
利科
亚里士多德
悲剧
叙事
模仿
Ricoeur
Aristotle
tragedy
narrative
imitation
