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雷蒙·威廉斯在现代“悲剧死亡论”的众声喧哗中,重新冷静地思考了悲剧的现代性问题。他从情感结构和生活经验出发,把革命与悲剧联系起来,通过对“自由主义”、“自然主义”、“浪漫主义”等文学流派所表征的悲剧观念、革命观念以及给人们带来的现实反应和情感结构变化的分析,揭示了现实革命行动的必然性、革命目标的绝对性、革命信仰的不可磨灭性和革命行动过程的悲剧性;在文学批评层面,他通过布莱希特探寻现代悲剧意识与未来的革命形式,认为革命的艺术家需要通过艺术形式的构造张力来突显当代意识形态的虚幻性和欺骗性本质,激起人们的悲剧意识和革命观念。威廉斯的悲剧理论与文学批评相互呼应,最终形成了对现代社会悲剧观念转型之际的重要理论构想,为转型时期的现代悲剧观念的形成奠定了理论基础,也为马克思主义悲剧理论的延续提供了重要的理论转向。
Raymond Williams in the modern “Tragedy Death Theory ” in the hubbub, re-calm thinking of the modernity of the tragedy. Based on his emotional structure and life experience, he linked the revolution with the tragedy. Through the tragedy ideas, revolutionary ideas and literary genres represented by liberal schools, naturalism and romanticism, The analysis of the real response and the change of emotional structure brought to the people reveals the inevitability of the realistic revolutionary action, the absoluteness of the revolutionary goal, the indelible character of the revolutionary belief and the tragedy of the revolutionary action process. At the literary criticism level, Lehith explores the modern tragedy consciousness and the revolutionary form of the future. He believes that the revolutionary artists need to highlight the illusion and deceptive nature of contemporary ideology through the structural tension of the art form, arousing people’s tragic consciousness and revolutionary ideas. Williams’s tragedy theory and literary criticism echoes each other, and eventually forms an important theoretical conception of the transition of modern society’s tragedy concept, laying a theoretical foundation for the formation of the modern tragedy concept in the transitional period and also providing a continuum for the tragedy theory of Marxism The important theoretical turn.