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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。
When we say that a certain novel or a certain drama is a comedy, it has become a broad category of poetry. Epics are narratives, while drama plays. It is an art style with different media and objects. In the aesthetic process of literature, the object is already in the position of the aesthetic subject. Therefore, both the research on the object of poetics and the study on the subject of aesthetics, the subject of aesthetics and the object must be in the state of mutual influence, so the comedy under the category of poetics becomes a spiritual phenomenon, which is comic The core content. With regard to the comedy, the history of literary criticism has formed two research ideas: “laughter mistake and stupidity” and “carnival smile”. As a spiritual phenomenon, all the theories of comedy literature in the poetical category revolve around the basic issues of comic structure and law, or how the subject understands and judges the object is the core of this aesthetic category problem.