Three Bones of Contention in Tragic Theory  

作　　者：丁尔苏 Ding Ersu

机构地区：[1]美国明尼苏达大学 [2]上海外国语大学英语学院

出　　处：《中国比较文学》2023年第3期216-235,共20页Comparative Literature in China

摘　　要：自亚里士多德发表《诗学》以来,理论家就悲剧艺术的本质一直争论不休。总的来看,关于这个问题的讨论大致可归入三个方面:悲剧人物、悲剧成因和悲剧效应。就悲剧创作历史而言,我们不仅目睹了悲剧人物的平民化,而且见证了将苦难与人的过失、神的安排、道德冲突或生命意志联系起来的种种努力,其背后的道德、审美乃至治疗意图又各不相同。从跨文化的角度将悲剧理论这三个重要方面放在一起考察,我们可以更加深入和系统地理解悲剧艺术。Since the publication of Aristotle's Poetics,theorists have been ceaselessly arguing about the nature of tragic art.Generally speaking,arguments surrounding this question can be grouped into three major categories,that is,the tragic protagonist,presumed causes of human suffering,and the desired effect of tragic art on its audience.In terms of literary history,we have witnessed not only a process of plebeianization of the tragic protagonist but also various efforts at linking suffering with human errors,divine schemes,moral conflicts,or will to life,each with its specific moral,aesthetic,or even therapeutic agenda.By examining these three important issues in tragic theory alongside each other and across different cultures,we can achieve a more solid and systematic understanding of tragic drama.

关 键 词：悲剧理论 悲剧人物 苦难成因 悲剧效应 

分 类 号：I106.3[文学—世界文学]