论英国戏剧现代性演进的四个美学维度
|
摘要
现代性是英国戏剧漫长发展史上的恒常议题,也是充满历史纵深感的文学事实,与英国戏剧演进的具体情境有着复杂微妙的联系。从文艺复兴末期开始,英国戏剧开启了漫长而曲折的现代性演进历程,经过启蒙、中止、复苏,最终在坚守民族性与博采众长的基础上确立了现代性。英国戏剧现代性演进史是英国戏剧民族化与世界化的进化史,从现代性视角出发对文艺复兴以降的英国戏剧进行美学观照,提炼英国戏剧现代性进程中的美学特征,如现代性生成的复杂性、创作主客体的大众化、戏剧表现形式的多元化及现代性诉求的延续性等,可以为当下英国戏剧研究提供借鉴。
In the evolution of British drama,modernity is a constant topic and a historical literary event,having a complicated and subtle relationship with the specific context in which British drama develops.Since late Renaissance,British drama has started its modern evolution of enlightenment,pause,transition and final establishment by adhering to national character and absorbing international experiences.The journey of British drama pursuing modernity also reflects its evolution of nationalization and globalization.From the perspective of modernity,the thesis attempts to examine and generalize the four aesthetic features of modern British drama,including the complex background of its evolution,the popular tendency of the subject and object,the diversity of artistic expression,and the continuous pursuit of modernity,hoping to be of any reference for the related research.
In the evolution of British drama,modernity is a constant topic and a historical literary event,having a complicated and subtle relationship with the specific context in which British drama develops.Since late Renaissance,British drama has started its modern evolution of enlightenment,pause,transition and final establishment by adhering to national character and absorbing international experiences.The journey of British drama pursuing modernity also reflects its evolution of nationalization and globalization.From the perspective of modernity,the thesis attempts to examine and generalize the four aesthetic features of modern British drama,including the complex background of its evolution,the popular tendency of the subject and object,the diversity of artistic expression,and the continuous pursuit of modernity,hoping to be of any reference for the related research.
引文
[1] 马泰·卡林内斯库.现代性的五副面孔[M].顾爱彬,李瑞华,译.北京:商务印书馆,2002:18.
[2] 刘秀玉.英国戏剧现代性的历史逻辑[J].辽宁大学学报(哲学社会科学版),2015(6):124-129.
[3] 张和龙.英国现代戏剧在中国的研究:百年史述[J].戏剧艺术,2014(2):41-48.
[4] 波德莱尔.1846年的沙龙——波德莱尔美学论文选[M].郭宏安,译.桂林:广西师范大学出版社,2002:424.
[5] 黄丽娟.永恒的变奏曲:西方现代性的动态机制[J].外国语文,2017(6):9-14.
[6] SKINNER Q.Afterword: Shakespeare and humanist culture[C]// ARMITAGE D,et al.,ed..Shakespeare and early modern political thought.New York:Cambridge University Press,2009:278.
[7] 马歇尔·伯曼.一切坚固的东西都烟消云散了——现代性体验[M].徐大建,张缉,译.北京:商务印书馆,2003.
[8] 安东尼·吉登斯.现代性的后果[M].田禾,译.南京:译林出版社,2011.
[9] 何其莘.德莱顿和王朝复辟时期的英国戏剧[J].外国文学,1996(6):77-85.
[10] ICHIJO A.Europe,Nations and Modernity[M].New York:Palgrave Macmillan,2011.
[11] O’TOOLE F.Howling from the Sidelines[J].New York review of books,2007(10 May):23-26.
[12] REBELLATO D.1956 and All that:the making of modern British drama[M].New York:Routledge,1999:71.
[13] CASCARDI A J.The subject of modernity[M].New York:Cambridge University Press,1992:127.
[14] 査明建.论莎士比亚的经典性与世界性[J].外语教学与研究,2016(6):854-865.
[15] 蹇昌槐.18世纪英国戏剧的伦理学观察[J].外国文学研究,2006(5):71-76.
[16] 西蒙·特拉斯勒.剑桥插图英国戏剧史[M].刘振前,等译.济南:山东画报出版社,2006.
[17] NICOLL A.A history of English drama:1660-1900:Vol.II[M].New York:Cambridge University Press,1952:219.
[18] 胡星亮.中国戏剧理论的现代建构——20世纪中国戏剧理论现代化研究[J].戏剧艺术,2018(4):4-25.
[19] 马克思,恩格斯.马克思恩格斯论文学与艺术:上册[M].北京:人民文学出版社,2002:403.
[20] NELSON E.Shakespeare and the best state of a commonwealth[C]// ARMITAGE D,et al.,ed..Shakespeare and early modern political thought.New York:Cambridge University Press,2009:256.
[21] 胡鹏.莎士比亚的印刷术与怀疑主义[J].外国语文,2018(4):8-15.
[22] 马克斯·韦伯.新教伦理与资本主义精神[M].阎克文,译.上海:上海人民出版社,2010:73.
[23] 袁婷婷.民粹主义的中国境遇[J].探索,2018(1):93-100.
[24] STONE L. An Imperial State at War:Britain from 1689 to 1815[M].London: Routledge,1994:11.
[25] CLARK J C D. Protestantism,nationalism,and national identity,1660-1832[J].The historical journal,2000(1):249-276.
[26] 王军.民族主义与国际关系[M].杭州:浙江人民出版社,2009:321.
[27] 方克强.开放性:文学现代性的标尺[J].华东师范大学学报(哲学社会科学版),2002(1):59-71.
[28] 哈罗德·布鲁姆.剧作家与戏剧[M].刘志刚,译.南京:译林出版社,2016:8.
[2] 刘秀玉.英国戏剧现代性的历史逻辑[J].辽宁大学学报(哲学社会科学版),2015(6):124-129.
[3] 张和龙.英国现代戏剧在中国的研究:百年史述[J].戏剧艺术,2014(2):41-48.
[4] 波德莱尔.1846年的沙龙——波德莱尔美学论文选[M].郭宏安,译.桂林:广西师范大学出版社,2002:424.
[5] 黄丽娟.永恒的变奏曲:西方现代性的动态机制[J].外国语文,2017(6):9-14.
[6] SKINNER Q.Afterword: Shakespeare and humanist culture[C]// ARMITAGE D,et al.,ed..Shakespeare and early modern political thought.New York:Cambridge University Press,2009:278.
[7] 马歇尔·伯曼.一切坚固的东西都烟消云散了——现代性体验[M].徐大建,张缉,译.北京:商务印书馆,2003.
[8] 安东尼·吉登斯.现代性的后果[M].田禾,译.南京:译林出版社,2011.
[9] 何其莘.德莱顿和王朝复辟时期的英国戏剧[J].外国文学,1996(6):77-85.
[10] ICHIJO A.Europe,Nations and Modernity[M].New York:Palgrave Macmillan,2011.
[11] O’TOOLE F.Howling from the Sidelines[J].New York review of books,2007(10 May):23-26.
[12] REBELLATO D.1956 and All that:the making of modern British drama[M].New York:Routledge,1999:71.
[13] CASCARDI A J.The subject of modernity[M].New York:Cambridge University Press,1992:127.
[14] 査明建.论莎士比亚的经典性与世界性[J].外语教学与研究,2016(6):854-865.
[15] 蹇昌槐.18世纪英国戏剧的伦理学观察[J].外国文学研究,2006(5):71-76.
[16] 西蒙·特拉斯勒.剑桥插图英国戏剧史[M].刘振前,等译.济南:山东画报出版社,2006.
[17] NICOLL A.A history of English drama:1660-1900:Vol.II[M].New York:Cambridge University Press,1952:219.
[18] 胡星亮.中国戏剧理论的现代建构——20世纪中国戏剧理论现代化研究[J].戏剧艺术,2018(4):4-25.
[19] 马克思,恩格斯.马克思恩格斯论文学与艺术:上册[M].北京:人民文学出版社,2002:403.
[20] NELSON E.Shakespeare and the best state of a commonwealth[C]// ARMITAGE D,et al.,ed..Shakespeare and early modern political thought.New York:Cambridge University Press,2009:256.
[21] 胡鹏.莎士比亚的印刷术与怀疑主义[J].外国语文,2018(4):8-15.
[22] 马克斯·韦伯.新教伦理与资本主义精神[M].阎克文,译.上海:上海人民出版社,2010:73.
[23] 袁婷婷.民粹主义的中国境遇[J].探索,2018(1):93-100.
[24] STONE L. An Imperial State at War:Britain from 1689 to 1815[M].London: Routledge,1994:11.
[25] CLARK J C D. Protestantism,nationalism,and national identity,1660-1832[J].The historical journal,2000(1):249-276.
[26] 王军.民族主义与国际关系[M].杭州:浙江人民出版社,2009:321.
[27] 方克强.开放性:文学现代性的标尺[J].华东师范大学学报(哲学社会科学版),2002(1):59-71.
[28] 哈罗德·布鲁姆.剧作家与戏剧[M].刘志刚,译.南京:译林出版社,2016:8.