略论中国现代悲剧观念的起源——为纪念《共产党宣言》发表一百七十周年而作  

On the Origin of the Concept of Chinese Modern Tragedy——Commemorating the 170 Anniversary of the Publication of Communist Manifesto

作　　者：王杰[1] 王真[1] WANG Jie;WANG Zhen(Center for Contemporary Marxist Aesthetics Research, Zhejiang University, Hangzhou,Zhejiang 310007, China)

机构地区：[1]浙江大学当代马克思主义美学研究中心,浙江杭州310007

出　　处：《江西师范大学学报（哲学社会科学版）》2018年第3期40-49,共10页Journal of Jiangxi Normal University(Philosophy and Social Sciences Edition)

基　　金：国家社科基金重点项目"中国悲剧观念的形成与发展研究"(编号:14AZW004)

摘　　要：由于中国社会现代化过程的特殊性,现代悲剧观念在中国审美现代性的结构中具有重要的意义。如果从马克思、恩格斯《共产党宣言》和雷·威廉斯《现代悲剧》的意义上理解中国现代悲剧观念,中国现代悲剧观念的起源就不是王国维的《红楼梦评论》,而是李叔同1915年创作的歌曲《送别》。通过对《送别》的美学—历史分析,包括《送别》在当代中国艺术中的反复呈现,论证了中国现代悲剧观念的起源问题,以及与这个问题相联系的若干核心的概念。本文从研究中国现代悲剧观念的方法论,马克思主义美学的理论资源在研究中国现代悲剧观念问题域中的关键意义,以及悲剧人文主义在当代文化建设中的重要性等方面,初步探讨了中国现代悲剧观念研究的理论维度。Because of the particularity of the modernization process of Chinese society,the concept of modern tragedy has great significance in the structure of Chinese aesthetic modernity. If we understand the concept of Chinese modern tragedy from the perspective of Communist Manifesto written by Marx and Engels and The Modern Tragedy written by Raymond Williams,the origin of the concept of Chinese modern tragedy is not A Dream of Red Mansions written by WANG Guowei,but the song of Farewell written by LI Shutong in 1915. This paper demonstrates the origin of the concept of Chinese modern tragedy and some core concepts associated with this problem through the aesthetic-historical analysis of Farewell,including the repeated presentation of Farewell in contemporary Chinese art. The theoretical dimension of the study of Chinese modern tragedies is preliminarily discussed from the perspective of the methodology of studying the concept of Chinese modern tragedy,the importance of tragic humanism in the construction of contemporary culture and the critical significance of the theoretical resources of Marx’s aesthetics in the study of the concept of Chinese modern tragedy.

关 键 词：中国现代悲剧观念 《送别》 中国审美现代性 情感结构 

分 类 号：I01[文学—文学理论]