契诃夫戏剧的空间诗学与意象阐释  

On the Spatial Poetics and Dramatic Yi Xiang in Chekhov's Plays

作　　者：顾春芳[1,2] Gu Chunfang

机构地区：[1]北京大学艺术学院 [2]北京大学美学与美育研究中心

出　　处：《戏剧(中央戏剧学院学报)》2024年第6期74-94,共21页Drama:The Journal of the Central Academy of Drama

基　　金：2023年度国家社科基金艺术学重大项目“戏剧与影视评论话语体系及创新发展研究”(项目编号:23ZD07)的阶段性成果。

摘　　要：本文以“意象阐释学”的理论和方法对契诃夫戏剧的空间诗学和戏剧意象加以深入阐释。论文通过对契诃夫戏剧文学中的“两个世界的分裂和对峙”“中心-边缘”的诗学空间结构的分析,审视契诃夫戏剧内在的“隐性结构”,即俄罗斯与欧洲、城市与乡村、不同阶层、不同信仰和异质文化之间所构建的“两个世界”的分裂和对峙,以及由此造成的人物的精神困境。并进一步阐释契诃夫“冰海沉船”式的心理现实主义美学风格的内在成因。论文对契诃夫文学和戏剧中“花园意象”的发现和阐释,进一步揭示契诃夫对于现代性困境的人文关怀、救赎意识和希望哲学。This paper uses the theory and method of “YiXiang hermeneutics” to explain the spatial poetics and dramatic YiXiang of Chekhov's plays.By analyzing the poetic spatial structure of “the division and confrontation of two worlds” and the “center-edge” in Chekhov's plays,the paper examines the “hidden structure” in Chekhov's drama,that is,the division and confrontation between Russia and europe,between city and country,between diferent classes,diferent beliefs and heterogeneous cultures,as well as the resulting spiritual dilemma of the characters.It also further explains the internal causes of Chekhov's psychological realism aesthetic style of “icesea shipwreck”.The discovery and interpretation of “garden image” in Chekhov's literature and dramas further reveals Chekhov's humanistic concern,redemptive consciousness and the philosophy of hope for the predicament of modernity.

关 键 词：意象阐释学 契诃夫戏剧 戏剧意象 空间诗学 现代性 

分 类 号：J83[艺术—戏剧戏曲]