命运与抗争——一个中西现代悲剧理论的共同主题和问题  

Fate and Resistance——A Common Theme and Problem in Modern Chinese and Western Theories of Tragedy

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：《中国美学研究》2024年第2期39-58,共20页

摘　　要：命运不仅无常,而且无情,乃至残酷,这是人的基本生存状况。但如何面对人生苦难,文学家和理论家各抒己见。总的来说,中西方现代悲剧理论都强调艺术家在呈现人间苦难的同时必须展现悲剧人物对苦难的反抗和超越。这一立场可以追溯至康德的崇高论以及受其影响的德国古典美学。需要指出的是,后者关于悲剧定义与悲剧创作的历史并不相符。无论在古希腊,还是文艺复兴时期的欧洲,“仅仅是哀伤的”戏剧作品随处可见,它们不涉及难以逃脱的命运,也不颂扬大无畏的反抗精神,但仍然让人心痛,令人鼻酸。我们无须将它们排除在悲剧文类之外。Fate is fickle,and oftentimes ruthless if not cruel.Such is the fundamental condition of human existence.How to confront sufferings in human life,however,is a question that has drawn diverse responses from literary writers and critics over the centuries.Generally speaking,modern tragic theorists both from China and the West stress the need to present the resistance and triumph of the tragic protagonist in the very process of his/her suffering and destruction.This theoretical stance can be traced back to Immanuel Kant’s theory of the sublime and many other German philosophers of tragedy who wrote under his tremendous influence at the turn of the 18th and 19th centuries.The latter’s definition of tragedy,however,does not accord with the history of tragic writing which abounds in“merely pathetic”dramatic works,be they in ancient Greece or Renaissance Europe.These tragic texts do not present sufferings as predetermined by fate,nor do they celebrate the greatness of man,but they bring tears to our eyes nonetheless.There is no point in denying those texts the name of tragedy.

关 键 词：悲剧理论 悲剧悖论 哀伤 崇高 德国古典美学 

分 类 号：B83-0[哲学宗教—美学] I106.3[文学—世界文学]