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悲喜剧的哲学基础与模糊思维《海南大学学报》(1993年第1期)发表赵康太的同题文章,文中认为:悲喜剧是一种介于悲剧和喜剧之间的“第三态”戏剧,也是一种独特的审美思维方式。但是,悲喜剧的地位长期得不到应有的重视,除了传统的审美思维的缺陷和审美地位的勿晰性外,最根本的原因还在于理论上缺乏对它赖以存在的哲学基础和审美思维特性的理解。亦此亦彼的“中介”性质。使悲喜剧成为悲剧的掌握方式与喜剧的掌握方式的携手并进。产生于“中介”之上的模糊思维,也使悲喜剧在悲剧喜剧之间划出了清晰的界限。
The philosophical basis and vague thinking of tragedy and comedy “Journal of Hainan University” (1993 No. 1) published the same article Zhao Kangtai, the article that: tragedy and comedy is a kind of tragedy and comedy between the “third state” drama is A unique way of aesthetic thinking. However, the status of tragedy and comedy has not received due attention for a long period of time. The most fundamental reason lies in its lack of theoretical foundation and aesthetic thinking in theory, except for the defects of traditional aesthetic thinking and aesthetic clarity Understanding of characteristics Also the “intermediary” nature of this. Make tragedy and comedy become the mastery of tragedy and mastery of comedy hand in hand. The vague thinking which originated from “intermediary” also made the tragicomedy draw a clear boundary between the tragedy and the comedy.