论作为一种诗学范畴的文学现象——对喜剧文学的精神性阐释

发布时间：2018-01-27 13:00

本文关键词： 诗学范畴文学现象喜剧文学精神性阐释喜剧性审美主体精神现象狂欢式美学范畴黑格尔　出处：《求索》2009年10期 　论文类型：期刊论文

【摘要】：当我们说某本小说或某出戏剧是喜剧时,它已成了一个宽泛意义上的诗学范畴,史诗是叙述的,而戏剧则是扮演的,它是具有不同媒介和对象的艺术样式。在文学的审美过程中,客体已经处于被审美主体理解的位置。因此,无论是针对诗学客体的研究还是审美主体的研究,审美主体与客体必然处于相互影响的状态之中,于是,诗学范畴下的喜剧便成了一种精神现象,这是喜剧性的核心内涵。关于喜剧性,文学批评史形成了"嘲笑错误和愚笨"与"狂欢式的笑"两条研究思路。作为一种精神现象,对诗学范畴的喜剧文学的所有理论都围绕着喜剧性的结构和规律这一基本问题来展开,或者说,主体如何理解、判断客体,便是这一美学范畴的核心问题。
[Abstract]:When we say that a novel or a drama comedy, it has become a poetic category in a broad sense, the epic narrative, and drama is played, it is with different media and objects of art style. In the aesthetic process of literature, have been the object of aesthetic subject understanding the position. Therefore, whether the research object or poetic aesthetic subject, aesthetic subject and object must be at the state of mutual influence, so the poetic category under the comedy has become a kind of spiritual phenomenon, which is the core content of comedy. A comedy, formed a "laugh at the history of literary criticism wrong and stupid" and "Carnival laughter" two research ideas. As a kind of spiritual phenomenon, all theories of comedy literature on poetics revolves around the basic problem of the structure and law of comedy to start, or that subject How to understand and judge the object is the core of this aesthetic category.

【作者单位】：南京大学文学院;
【分类号】：I0-02
【正文快照】： 一在《诗学》中,关于喜剧,亚里士多德认为:“从模仿的方式看,史诗是叙述的,而戏剧则是扮演的。”①;“喜剧摹仿低劣的人;这些人不是无恶不作的歹徒——滑稽只是丑陋的一种表现。滑稽的事物,或包含谬误,或其貌不扬,但不含给人造成痛苦或带来伤害。现成的例子是喜剧演员的面具,

【相似文献】