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近代以来,在西方文化的影响下,中华文化发生了历史性的深刻转变,中国的学术也逐步转型,形成了一个新的传统。这无疑具有划时代的积极意义。然而在新传统中,西方的理论一直占据着思想制高点,时常被奉为具有普世意义的绝对标准。自进入21世纪以来,中国的学术似乎正在酝酿着某种突破。一些学者持续反省新传统的某些偏颇,思考某些外来理论范式与本土事物/研究对象不吻合、甚至矛盾之处。本文将以戏曲研究为例,具体讨论三个以西方戏剧及理论枘凿中国戏曲的个案。从表面上看,这三个案例互不相关,但是其背后却隐含着某种带共通性的问题。总之,本文将通过分析具体案例,反省以西方标准衡量、判别中国本土事物的理论倾向。
Since the modern times, under the influence of Western culture, Chinese culture has undergone a historic and profound transformation. Chinese scholars have also gradually transformed and formed a new tradition. This undoubtedly has epoch-making positive significance. However, in the new tradition, the Western theory has always occupied the ideological high ground and is often regarded as an absolute standard of universal significance. Since its entry into the 21st century, there seems to be a breakthrough in Chinese academics. Some scholars continue to reflect on certain biases in the new tradition and think that some foreign theoretical paradigms do not coincide with or even contradict with local things / subjects. In this paper, we will take the study of drama as an example to discuss three cases of Western drama and theory that dug Chinese opera. On the surface, these three cases are not related to each other, but behind them there is some kind of commonalities implicated. In a word, this article will analyze the specific cases and reflect on the theoretical tendency of judging Chinese indigenous things by western standards.