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本文以悲剧和喜剧的相互关系为契机,通过对悲剧和喜剧存在的历时性和共时性的实际考察,认为二者作为美学范畴同是现实性和现存性矛盾冲突的产物,具有直接同一性。这一本质关系决定了悲剧和喜剧必定同时存在,并且一一对应,体现出悲剧和喜剧的并存性和对应性。而悲剧和喜剧本质外化的悲剧性和喜剧性,作为具体的美感,诉诸审美主体感观直觉的都是悲剧和喜剧的单一性和对立性。这是作者学习马,恩悲喜剧理论的一点启示,就正于理论界和广大读者。
Taking the mutual relationship between tragedy and comedy as a turning point, this paper, through the actual investigation of the diachronic and synchronicity of the existence of tragedies and comedies, holds that the two are the same as the categories of aesthetics and are the product of the contradictions between reality and existentialism, . This essential relationship determines that tragedies and comedy must exist at the same time and correspond one by one, which reflects the coexistence and correspondence between tragedies and comedies. The tragedy and comic nature of tragedy and comedy essence are externalities. As a specific aesthetic feeling, appeals to the sensory intuition of aesthetic subject are the unity and opposition of tragedy and comedy. This is the author’s study of horse, tragedy comedy theory of inspiration, it is theorists and readers.