电影《霸王别姬》中的崇高  

The Sublime in the Movie Farewell My Concubine

作　　者：何信玉 HE Xinyu(College of Media and International Culture,Zhejiang University,Hangzhou,China 310028)

机构地区：[1]浙江大学传媒与国际文化学院,浙江杭州310028

出　　处：《温州大学学报（社会科学版）》2021年第5期8-19,共12页Journal of Wenzhou University：Social Science Edition

基　　金：黑龙江省社会科学基金规划项目(19ZWC139);黑龙江省教育厅基本科研经费项目(HDYJW201912)。

摘　　要：在复杂的现代审美经验中,中国当代文学与艺术形成了自身独特的美学风貌。文稿以电影《霸王别姬》为例,通过对影片情感结构与悲剧观念的分析,试图思考中国当代艺术的寓言品质与美学风格。一方面,影片运用史诗般的、多重话语叙事构成一个典型的中国式寓言结构,使人物的悲剧命运与情感纠葛成为特定历史时期情感结构和悲剧观念的重要表征;另一方面,在美学上,面对现实生活的苦难与背叛,主人公程蝶衣以一个走向牺牲仪式的自刎、以个体生命最极端的方式解构了宏大的历史寓言,用优美化、程式化的身体语言传达出关于未来的指向和超越不合理现实的可能,体现了一种不同于西方悲剧文化的“优美化的崇高”风格。In the complex modern aesthetic experience,contemporary Chinese literature and art have formed their own unique aesthetic style.This article takes the Chinese movie Farewell My Concubine in the 1980s as an example,and tries to consider the allegorical quality and aesthetic style of contemporary Chinese art through the analysis of the movie’s emotional structure and tragedy concepts.On the one hand,this movie forms a typical Chinese-style allegorical structure by using epic and multi-discourse narration so that the tragic fate and emotional conflicts of the characters become an important representation of the emotional structure and tragedy concept in a specific historical period;on the other hand,Cheng Dieyi’s suicide is a ritual towards sacrifice aesthetically.Facing the painful reality and betrayal,he deconstructed the grand historical fable in the most extreme way of individual life,conveying the direction of the future and the possibility of transcending the unreasonable reality by the graceful and stylized body language,and reflecting a typical Chinese aesthetic style of“beautiful sublime”different from the western tragic culture.His behavior has very important modern significance.

关 键 词：程蝶衣 历史寓言 牺牲 悲剧观念 《霸王别姬》 

分 类 号：I01[文学—文学理论]