摘要
"中国无悲剧说"的根本症结是我们把悲剧的"双轨"审美机制变成了"单轨制"。共鸣与超越是悲剧的两种审美机制,但实际上我们基本上只强调悲剧"崇高美"的超越性而看轻其情感的共鸣性。注重文学的超越性,这是近百年来中国学界的基本立场。由于"革命文学"、"阶级论文学"的影响,中国文学一直强调"斗争反抗"的"高昂"格调,"十七年"时期文学更是成了政治的工具,再加上改革开放以来我们对于西方各种现代主义的热衷追捧,这些使得我们文学中共鸣式的情感叙事实际上至今仍然十分薄弱,在这种特殊语境中共鸣对于我们来说就显得尤为重要。因此我们应该更加重视"共鸣式"悲剧,充分肯定悲剧在疏导人情、慰藉情感等方面的功用,将共鸣本身就作为悲剧真正的目的之一而不必一定要转化到"思想性"价值方面来,从而还原悲剧的"双轨"审美机制。
The concept of ＂China has no tragedy＂ originates from the understanding of tragedy as one aesthetic process. In fact, two aesthetic mechanisms are embodied in understanding tragedy, that is, response and transcendence. In the past one hundred years, the literary critics in China have empha- sized the transcendence of ＂oftiness＂ of tragedy rather than the emotional response due to various do- mestic movements as well as the modernistic influence of the West since the Reform in China. Thus, it is worthwhile to study both the emotional features of tragedy and its loftiness in transcendence in order to avoid understanding tragedy in terms of its ideology.
出处
《云南师范大学学报（哲学社会科学版）》
CSSCI
北大核心
2014年第1期137-144,共8页
Journal of Yunnan Normal University：Humanities and Social Sciences Edition
基金
重庆市社科规划项目"十七年文学批评中‘否定性’话语的历史回顾与当代反思研究"(2012Ybwx086)
中央高校基本科研业务重大项目"中国20世纪阶级论文论研究"(swu1409107)阶段性研究成果
关键词
悲剧
共鸣
崇高
审美机制
重视
tragedy
response~ loftiness
aesthetic mechanism
attention
