从文艺复兴到新古典主义——“三一律”理论的传播与精神流变  

From Renaissance to Neoclassicism:The Spread and Spiritual Evolution of the“Three Unities”Theory

作　　者：李君威[1] Li Junwei(College of Liberal Arts,Southwest University)

机构地区：[1]西南大学文学院

出　　处：《美学与艺术评论》2024年第2期101-115,255,共16页Journal of Aesthetics and Art Review

基　　金：国家社会科学基金重大项目《世界创意写作前沿理论文献的翻译、整理与研究》(23&ZD294);教育部人文社会科学研究项目“以情境为核心的元故事理论及其模型的建构与实践研究”(24YJCZH138)的阶段性成果。

摘　　要：中世纪结束后,意大利人文主义者高举时代精神的大旗,将人从宗教神学的枷锁中解放出来,但是同时,他们在向古希腊传统的复归上,滑向了泥古的“歧途”。“三一律”作为文艺复兴运动泥古的果实,被法国新古典主义整体地接受下来,而将文艺复兴运动更具开创的“以人性反抗神性”“以人权反对神权”的时代精神悬置一旁。在“熙德论战”的大辩论中,法国人将对“三一律”狭隘、机械地遵循,引向了更为广阔的“三一律”与艺术的“近情理性”关系的讨论上来,而论战所讨论的问题及其产生的效果,或许远比“三一律”背后的意识形态逻辑更有价值。After the end of the Middle Ages,Italian humanists held high the banner of the zeitgeist and liberated people from the yoke of religious theology,but at the same time,they slipped to the“wrong path”of mud on the return to the ancient Greek tradition.As the fruit of the Renaissance movement,the“Trinity Law”was accepted by French neoclassicism as a whole,and the more pioneering zeitgeist of the Renaissance movement of“rebelling against divinity with human nature”and“opposing theocracy with human rights”was set aside.In the great debate of the“Cid controversy”,the French narrowly and mechanically followed the“Trinity Law”,leading to a broader discussion of the“Trinity Law”and the“close rationality”relationship between art,and the issues discussed in the debate and its effects may be far more valuable than the ideological logic behind the“Trinity Law”.

关 键 词：“三一律” 文艺复兴 新古典主义 熙德论战 近情理性 

分 类 号：J110.9[艺术—艺术理论] I109[文学—世界文学]