《中国广播电视学刊》1996年第3期登载了一篇专论(孙学海《论悲尉作品的崇高品格》,以下简称孙文),将反映焦裕禄事迹的通讯、电视连续剧、电影和反映孔繁森事迹的电视连续报道、电视专题片、长篇通讯,均列入悲剧的范畴,从而将他们视为悲剧作品的主人公。对于这样的论述,笔着实难苟同。首先应当说明的是,悲剧同崇高的确是密切相关的两个美学范畴。换言之,悲剧作品的确具有崇高的品格。孙文所列举的古希腊时代的“山羊之歌”、《被缚的普罗米修斯》、《俄狄浦斯王》、《美狄亚》和反映我国革命战争年代英雄事迹的电影《董存瑞》、电视剧《刘胡兰》,都是表明悲剧与崇高相通的例子,充盈着强烈的自我牺牲精神。然而,到目前为止,无论是崇高这一范畴本身,抑或崇高同悲剧的关系,都还是众说纷纭的问题,也是尚待深 “China Radio and Television Journal” No. 3, 1996, published a monograph (Sun Xuehai “on the noble character of Sadao Wei works,” hereinafter referred to as Sun Wen), will reflect the deeds of Jiao Jiao communications, TV series, movies and reflect Kong Fansen The story of television continuous coverage, feature films, long newsletters are included in the tragedy category, so that they will be regarded as the protagonist of the tragedy. For such an argument, pen really hard to agree. First of all, it should be noted that tragedy is indeed closely related to the two noble categories. In other words, the tragedy does have a high character. The “Goat Songs”, “Bound Prometheus”, “Oedipus Rex”, “Medea” and the movie reflecting the heroic deeds of our country’s revolutionary war in the past years, “, The TV series” Liu Hulan, "are examples of demonstrating the tragedy and loftiness, filled with a strong sense of self-sacrifice. However, up till now, no matter whether the category of sublime itself or the relationship between loftiness and tragedy is still a controversial issue,