镣铐下的美丽——论三一律的美学意义  

Beauty with Shackles——Aesthetic Significance of Three Unities

作　　者：卢普玲[1] 杨正和[2] 

机构地区：[1]江西师范大学外国语学院 [2]江西师范大学文学院

出　　处：《南昌大学学报（人文社会科学版）》2004年第6期137-140,146,共5页Journal of Nanchang University(Humanities and Social Sciences)

基　　金：2003年江西省高校人文社会科学研究项目"17世纪古典主义文学研究"成果之一(项目批准号:03WX04)。

摘　　要：17世纪法国古典主义时期出现的三一律创作原则,一直被认为是文学服务于政治的一种体现,在创作上对作家是一种极大的束缚。事实上,三一律作为一种创作原则固然有其外部的社会政治因素,但其自身也体现出内在的美学意义。这种美学意义不仅体现在内容上巨大的舞台张力美,更体现在形式上和谐统一的单纯美。Three Unities,which came into being during the French Classicism in the 17th century,is always (regarded) as fetters for writers.It's a reflection of literature serving politics.In fact,the Three Unities as one kind of writing principles has its intrinsic aesthetic (significance) although its emergence has some political reasons.Such (aestheti)c (significance) is not only embodied in the beauty of the tension on stage for content,but also in the pure beauty of (harmony for) form.

关 键 词：三一律 张力美 单纯美 

分 类 号：I106[文学—世界文学]