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作 者:颜荻 Yan Di(Xinaya College,Tsinghua University,Beijing 100084,China)
机构地区:[1]清华大学新雅书院,北京100084
出 处:《北京大学学报(哲学社会科学版)》2024年第1期128-138,共11页Journal of Peking University(Philosophy and Social Sciences)
基 金:教育部“春晖计划”合作科研项目“西方文明起源中的家庭问题研究”(HZKY20220045)。
摘 要:古希腊悲剧繁盛于具有高度竞争精神的民主雅典城邦,竞赛(agōn)可以说是希腊戏剧的基本底色。传统研究对古希腊悲剧竞赛的关注主要集中于竞赛机制以及同年度的戏剧比较,然而古希腊悲剧舞台所呈现的竞赛远不止如此。通过比较三大悲剧作家在不同时期的三部作品《奠酒人》(埃斯库罗斯)、《埃勒克特拉》(索福克勒斯)与《埃勒克特拉》(欧里庇得斯),可见悲剧作家的竞赛不仅存在于同年度的舞台上,而且也发生在跨时空的对话之中。三位作家通过对埃勒克特拉这一核心人物的不同塑造,呈现出其对“奥瑞斯提亚”神话中“弑母”困境的竞争性解释,并更进一步,显现出其对悲剧作为一种文学体裁的不同理解。在跨时空的竞赛中,悲剧成为一种具有高度延展性的表述机制,其力量不仅限于雅典城邦的当时当地,而是拥有了一个超越性场域,以承载更加宏观意义上的思想的流变乃至时代的迁延。Ancient Greek tragedy thrived in democratic Athens,a city with highly competitive spirit.Agōn(竞赛),i.e.,competition,can be said as an essential characteristic of Greek drama.Traditional studies on the competition of tragedies used to focus on the mechanism of competition and the comparison of those plays performed in the same year.However,the competition of tragedies presented on the stage was far more than it seemed.Through comparing the three plays staged in different periods by three great tragedians-Aeschylus'(埃斯库罗斯)Choephoroi(《奠酒人》),Sophocles'(索福克勒斯)Electra(《埃勒克特拉》)and Euripides'(欧里庇得斯)Electra,we can see that the competitions among the tragedians with their works existed not only in the theaters of various times,but also in their cross-spatio-temporal dialogues.In their plays,the three tragedians,by portraying different characterizations of the core character,Electra,offered variant and competitive interpretations on the ethical dilemma of matricide in the myth of Oresteia(奥瑞斯提亚),and therefore further demonstrated their respective treatments of the tragedy as a literary genre.In the competitions across space and time,tragedy became a highly-extensible mechanism of expression,and its dramatic power was no longer confined to the Athenian City-State at a given space and time,but it became a transcendental field which witnessed the transformation of thoughts in a macro sense and even the epochal changes.
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