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悲剧的本质及其与社会历史间的关系问题,构成卢卡奇文艺理论的重要一维。对它的讨论,主要体现在《悲剧形而上学》与《艺术哲学》等相关著作及手稿当中。通过分析,不难发现,卢卡奇在戏剧史层面,系统地诠释了悲剧的艺术价值和社会作用,他认为,悲剧作为一种人与命运之间的游戏,其内容与所谓得上帝无涉。后者仅以观众的身份冷眼旁观。这就在社会历史领域引发一种泛悲剧的倾向,从而消解了人们在现实生活中获得解放的可能性。此外,将政治话语中的平等与民主介入到悲剧人物当中,无疑又会产生内在体验与外部经验的双重失效。这就引出另一更为深刻的问题:人们与真正悲剧的元历史瞬间的契合点到底该从何处找寻?
The nature of the tragedy and its relationship with social history constitute an important dimension of Lukacs’ theory of literature and art. Its discussion is mainly reflected in the related works and manuscripts such as “Metaphysics of Tragedy” and “Philosophy of Art”. Through analysis, it is not difficult to find out that Lukacs systematically interprets the artistic value and social function of tragedy at the level of drama history. In his opinion, tragedy, as a game between man and his destiny, is not related to so-called God . The latter only sit on the sidelines of spectators. This has triggered a pan-tragedy tendency in the social and historical field, thus eliminating the possibility of people being emancipated in real life. In addition, interposing equality and democracy in political discourse into the tragedy will undoubtedly bring about the double failure of internal experience and external experience. This leads to another, more profound question: Where should we find the meeting point between people and the meta-historical moment of a real tragedy?