戏剧作品的时空体之殇  

On the Chronotope of Drama Works

作　　者：章小凤 赵艳[2] ZHANG Xiao-feng;ZHAO Yan(Institute of International Education,Shandong Jiaotong University,Jinan 250357,Shandong,China;School of Foreign Languages,Northeast Petroleum University,Daqingl63318,Hei Long - jiang,China)

机构地区：[1]山东交通学院国际教育学院,山东济南250357 [2]东北石油大学外国语学院,黑龙江大庆163318

出　　处：《学术探索》2019年第7期126-132,共7页Academic Exploration

基　　金：国家社会科学基金青年项目(12CZX003);山东省艺术科学重点课题(19SDZDYS065);山东交通学院博士科研启动基金项目(19SDJT213)

摘　　要：时空体理论堪称20世纪以来文艺学领域的一个巨大理论成就。对于挖掘戏剧作品的内在和外在意义而言,戏剧时空体理论都具有不可复制的作用。系统梳理时空体的理论渊源,探究戏剧中时空体的概念范畴和理论意义,进一步研究戏剧时空体的多层次性和多重结构:具有五个层次和三个内在结构,考察四种古典戏剧时空体和两种非古典戏剧时空体的特点,并最终揭示出戏剧时空体具有开放性、自我组织性等特征。The theory of chronotope can be regarded as a great theoretical achievement in the field of literature and art since the twentieth century.In the excavation of internal and external significance of drama works,the theory of Chronotope of the drama has a non-replicable function.Tracing back to the origin,the paper systematically combs the theoretical origin of chronotope,and explores its conceptual category and theoretical significance in drama.Accordingly,it further studies the multi-level and multi-structure of the chronotope of drama:five levels and three internal structures;examines the characteristics of chronotope of four classical and two non-classical dramas.Finally,it reveals that the chronotope of drama has the characteristics of openness and self-organization.

关 键 词：戏剧时空体 理论渊源 理论意义 结构 

分 类 号：J802[艺术—戏剧戏曲]