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作 者:何晓军[1] 肖盼 HE Xiaojun;XIAO Pan(College of Literature and Journalism,Xiangtan University,Xiangtan,411105,China)
机构地区:[1]湘潭大学文学与新闻学院,湖南湘潭411105
出 处:《广西科技师范学院学报》2024年第5期28-37,共10页Journal of Guangxi Science & Technology Normal University
基 金:湖南省哲学社会科学基金青年项目“布洛赫马克思主义文艺批评研究”(22YBQ079);湖南省研究生科研创新项目“布洛赫文艺美学思想研究”(CX20230594);湖南省教育厅优秀青年项目“本尼特文化实践理论研究”(24B0653)。
摘 要:恩斯特·布洛赫戏剧体裁批评的审美构成主要由三个部分组成,它们分别是:哑剧批评的审美构成、歌剧批评的审美构成和喜剧批评的审美构成。事实上,每一种具体戏剧体裁的审美构成是有所不同的,“表情语言”“动作姿势”“舞蹈片段”是哑剧批评的核心审美构成;“图像主角”“流淌性音乐”“愿望图景”是歌剧批评的关键审美构成;“讥讽”“现实真实”“希望”是喜剧批评的重点审美构成。尽管哑剧批评、歌剧批评和喜剧批评的审美构成各有侧重点,但是,它们在“整体架构”“美学效应”“价值追求”方面有着紧密的关联,它们之间的有机结合共同建构起了布洛赫戏剧体裁批评的审美构成,并彰显出耀眼的美学之光。The aesthetic composition of Ernst Bloch’s dramatic genre criticism consists of three main parts,the aesthetic composition of pantomime criticism,the aesthetic composition of opera criticism and the aesthetic composition of comedy criticism.In fact,the aesthetic composition of each specific dramatic genre is different,with‘expressive language’,‘gestures’and‘dance fragments’being the core aesthetic compositions of pantomime criticism,‘pictorial protagonists’,‘flowing music’and‘aspirational scenes’being the key aesthetic compositions of opera criticism,and‘sarcasm’,‘realistic truth’and‘hope’being the key aesthetic components of comedy criticism.Although the aesthetic compositions of pantomime criticism,opera criticism and comedy criticism have their own focuses,they are closely related to each other in terms of‘overall structure’,‘aesthetic effect’and‘pursuit of value’.The organic combination between them jointly constructs the aesthetic composition of Ernst Bloch’s dramatic genre criticism,which reveals a dazzling aesthetic light.
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