日常性与非日常性:中西方古典戏剧文化的位势差异  

Routineness and Non-Routineness:The Position and Power Differences between Chinese and Weste Classical Drama Cultures

作　　者：张含 Zhang Han

机构地区：[1]山东大学文学院,济南250100

出　　处：《中国文学批评》2023年第2期180-188,192,共10页Chinese Journal of Literary Criticism

摘　　要：西方与中国文明道路之差异、社会生产生活方式之不同,致使中西古典戏剧各自的发展内因、生产与消费特性大相径庭,形成了不同的社会需求、文化供给和审美功能,在社会文化力量结构和态势中拥有各自不同的文化位置与势力。从非日常生活与日常生活的结构意义上看,西方古典戏剧在宗教的社会主导性和神的精神轴心力中以神的代言者自居,主要显现了宗教信仰、神性力量的非日常文化位势,是神的戏剧;中华古代文明的基本特征包括农耕文明形态、生产生活方式以及大一统的国家体制,促成了家国、家族、家庭、家人的人伦结构、功能与效应,加之没有高于皇权、控制日常的宗教,戏剧处于具有基础性、主导性的日常位势上,其文化本质主要呈现为人伦的特征。The different roads of civilization between the West and China,as well as the different modes of social production and life,result in huge differences in the internal causes of the development,and production and consumption characteristics of Chinese and Western classical dramas,form different social needs,cultural supplies,and aesthetic functions,and has its own cultural position and power in the structure and trend of social and cultural forces.From the perspective of the structural significance of non-daily life and daily life,Western classical drama regards itself as the spokesperson of gods in the social dominance of religion and spiritual axis of gods.Chinese opera lies in a fundamental and dominant position of daily life,and its cultural nature mainly presents as the characteristics of human relations.

关 键 词：中国古代戏剧 西方古典戏剧 日常性 非日常性 文化位势 

分 类 号：I106.3-03[文学—世界文学]