东西方悲剧范畴与美学形态之比较分析  

A Comparative Study on the Tragedy Category & Aesthetic Forms of the East and West

作　　者：陈伟[1] 李欣欣 Chen Wei;Li Xinxin

机构地区：[1]上海师范大学 [2]上海师范大学人文学院

出　　处：《上海文化》2020年第8期64-71,126,共9页Shanghai Culture

摘　　要："悲剧"既是源远流长的戏剧主要体裁之一,又是重要的美学范畴,正是前者的辉煌成就铸就了后者的审美文化范式。古往今来,中西方涌现出了不计其数的"悲剧大家",从古希腊的三大悲剧家到文艺复兴时期的莎士比亚,再到17世纪诞生的新古典主义悲剧;从中国宋末元初的元杂剧到明清时期的悲剧,经典作品层出不穷。由于东西方在地理环境、社会背景、文化习俗、意识形态等各方面的差异,促使他们形成了不同的审美内涵与思维方式,表现在悲剧作品中及悲剧理论研究中,也就形成了各自不同的艺术特色。本文采用"分析比较"的手法和与时俱进的视角对不同阶段内中西方的悲剧作品进行梳理概括,结合两者不同的文化背景,深入研究两者的差异性和相似性以及两者在美学形态上的异曲同工之处,进一步探索悲剧艺术的美学价值和审美意义。Tragedy is not only one of the main genres of drama with a long history,but also an important aesthetic category.From ancient times to the present,countless"tragic masters"and classic works have sprung up in China and the west,ranging from the three great tragedies of ancient Greece to Shakespeare in the Renaissance,to the neoclassical tragedies in the 17 th century;from Yuan Zaju in the late Song and early Yuan Dynasties to the tragedies in the Ming and Qing Dynasties.Because of the differences in geographical environment,social background,cultural customs,ideology and other aspects between the East and the west,they have formed different aesthetic connotation and thinking modes,which is also projected with different artistic features in tragic works and theories of tragedy.This paper uses the method of"analysis and comparison"to sort out the tragic works of China and the West in different stages,studies the differences and similarities between the two,and further explores the aesthetic values and significance of tragic art.

关 键 词：悲剧 美学范畴 美学形态 中西方比较 

分 类 号：B83-091[哲学宗教—美学]