论文部分内容阅读
在尼采身后的一百多年里 ,悲剧理论没有取得有分量的成果。这首先同悲剧本身的复杂性有关。人格诗学的基本命题是 :天才文学的实质是人性的自我肯定。本文依托于这一诗学原理而得出定义 :天才悲剧是相互对立的两种人性都实现了自我肯定。本文回答了“中国文学史上有无悲剧”的问题 ,对于若干作品、尤其是“哈姆雷特”的分析 ,充满了全面创新的企图
In the one hundred years that followed Nietzsche, the tragedy theory failed to achieve a significant amount of results. This is primarily related to the complexity of the tragedy itself. The basic proposition of personality poetics is: The essence of genius literature is self-affirmation of human nature. This article relies on this poetic principle to come to a definition: a genius tragedy is self-affirmation of both human beings that oppose each other. This article answers the question of “Is there any tragedy in the history of Chinese literature?”. The analysis of several works, especially “Hamlet”, is full of attempts to innovate completely