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悲剧自古希腊戏剧滥觞之日起,就与死亡意象、死亡主题和死亡精神等捆绑在一起,密不可分。著名的戏剧理论家布雷德利干脆这样定义:“悲剧,从本质上讲就是一个遭受苦难和灾祸,最终导致死亡的故事。”由生至死所造就的人物命运考验和极限境域冲突,以及戏剧舞台表现充分地演绎出悲剧的崇高美学,抒发着从苏格拉底的“死亡——不是生存,才是得到纯粹智慧的最佳途径”到柏拉图的“所一直萦绕于怀的,乃是在如何实践死亡”,直至海德格尔的“畏死”或“向死而生”等这些哲学家们一脉相传的“死亡意识”。虽然死亡意识并非单指生命的终结,从文学与哲学的意义上说是生命的界定具有反观的价值,即在死亡观照下的生命人生与自由人生乃至生命的意义。
Since the beginning of the ancient Greek theater, the tragedy has been closely linked with the image of death, the theme of death and the spirit of death. Well-known theater theorist Bradley simply defined the following: “Tragedy, by its very nature, is a story of suffering and catastrophe, which ultimately leads to death.” The test of fate and extreme realm of conflict created by the life-and-death figure, as well as drama Stage performance fully deduced the tragedy of sublime aesthetics, expressing Socrates from the “death - not life, is the best way to get pure wisdom” to Plato’s “has been haunting, but in what Practicing death ”until Heidegger’s“ death-mindedness ”or“ death to death ”philosophers such as the“ death consciousness. ” Although the sense of death does not mean the end of life alone, in the literary and philosophical sense, the definition of life has the opposite value, that is, the life and the free life and the meaning of life under the death view.