论伊安的口头文学表演实质和柏拉图的误断  

On the Essence of Verbal Art as Performance in Ion and Plato's Misjudgement

作　　者：孙景尧[1] 夏洁[1] 

机构地区：[1]上海师范大学人文与传播学院,上海200234

出　　处：《上海师范大学学报（哲学社会科学版）》2005年第3期74-79,共6页Journal of Shanghai Normal University(Philosophy & Social Sciences Edition)

摘　　要：本文以口头文学表演理论,并结合古希腊诵诗表演活动史实,论证了《伊安篇》中的诵诗实是一种口头文学表演艺术,而伊安既具备了集编、导、演于一身的口头文学表演艺人身份,又具有使用阐释性套架作口头文学表演的“技艺”特征。但柏拉图在《伊安篇》中,却采用了“代言体”戏剧的“整体诗学”观,使伊安在论辩中“被迫陷入可笑的窘境。”这是柏拉图基于其戏剧模仿说而对伊安口头文学表演作出的误断。With oral poetics and the history of rhapsody,this paper intends to confirm that the rhapsody of Ancient Greece in ION is a kind of verbal performance art,and Ion is a performer of verbal art.The essential character of verbal art as performance is the role of the rhapsody during the performance as performer,composer and director as well,following the formulae and interpre- tive frame.Socrates,misled by visual information,correspondingly analyzed the verbal art embodied by interpretive dramatic per- formance,and incorrectly concluded“the rhapsody is the interpreter of the poet.”But it is the debate in Ion that supplies us with valuable information of the rhapsody.

关 键 词：古希腊 诵诗 技艺 口头文学表演 

分 类 号：I545.062[文学—其他各国文学]