诺尔·卡罗尔标准预聚焦理论视野下的戏剧情感发生——以象征主义戏剧为例

Drama Emotion Occurrence under Criteria Pre-focusing Theory of Carroll: Taking Symbolism Drama as an Example

近年来,有学者将心理学的认知情感的成果引入到文学研究领域,代表学者有霍根、纳斯鲍姆和卡罗尔等。其中卡罗尔的理论对戏剧研究十分有启发意义。他将认知引入戏剧情感问题,对情感体验的发生机制提出了成体系的观点,即标准的预聚焦理论。此理论的核心观点为戏剧情感并非源于观众的感性认同,而是由观众的认知状态来决定。此认知状态,具体由作者的预聚焦创作方式来引导。象征主义戏剧的情感总是指向精神永恒和灵魂救赎的崇高。这种崇高情感的形成与剧作家坚持的认知紧密相关。简言之,这种认知是基于对超验世界的永恒追求和神性存在的不变信念。剧作家通过模糊时空、淡化场面间逻辑性、情节非完全陈述及借用古代仪式等方式引领观众的注意力,塑造其认知状态,以此来促成其情感状态。此外,卡罗尔的情感矢量聚集观点为分析象征主义戏剧的观众情感和人物情感之间的有关又独立的关系提供了依据。以往的研究中,往往将象征主义戏剧的情感特质归因于象征手法的使用,但在标准预聚焦理论视野下,其特质可以得到更有说服力的说明。

These years, scholars take cognitive psychology into literature field, like Patrick Colm Hogan, Martha Nussbaum and Noel Carroll. Theory from Carroll is heuristic and he is taking cognition process into emotional issues of drama, then forms the criteria pre-focusing theory. The core point of this theory is that drama emotion is determined not by the audience＇s perceptual identity, but by the audience＇s cognitive state. This cognitive state is guided by the author＇s pre-focus. The emotion of symbolism drama always points to the sublime of Spiritual Eternity and soul redemption. The formation of this noble emotion is closely related to the cognition of the author. In short, this cognition is based on the eternal pursuit of the transcendental world and the unchangeable belief of divine existence. The authors lead the audience＇s attention and shape their cognitive state by blurring space and time, weakening the logic between scenes, incomplete plot statement and borrowing ancient rituals to promote their emotional state. In addition, Carroll＇s view of emotional vector aggregation provides a basis for analyzing the relevant and independent relationship between the audience＇s emotions and the characters＇ emotions in symbolic drama. Previous studies have often attributed the emotional traits of symbolic dramas to the use of symbolic devices, but from the perspective of standard pre-focus theory, its characteristics can be more convincing.