人类生存之迷的顽强探求——古希腊悲剧中的抗争意识及其美学思考.pdfVIP

the challenge of destiny, taking on responsibility bravely and rebelling tenaciously. The purpose of writing this article is: trying to interpret the tenacious consciousness of rebellion embodied in ancient Greek tragedy, displaying the spirit of exploration on human beings’ mystery of existence as well as its greatness of this lonely and helpless act of exploration. Key words: ancient Greek tragedy fate rebellion mystery of existence spirit of exploration III 目 录 导 论„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„1 第一章 探求人类生存之谜的落脚点——命运„„„„„„„„3 第一节 人与命运„„„„„„„„„„„„„„„„„„„„„„„3 第二节 古希腊悲剧命运观阐释„„„„„„„„„„„„„„„„„5 第二章 从古希腊三大悲剧家对待命运的态度看人类的抗争意识„8 第一节 对命运之“神”的抗争——埃斯库罗斯及其命运观„„„„„„8 第二节 对命运之“力”的抗争——索福克勒斯及其命运观„„„„„12 第三节 对背叛自己的人的抗争——欧里庇德斯及其命运观„„„„„15 第三章 古希腊命运观中人类抗争意识存在的社会历史条件„„19 第一节 古希腊生存方式的变化为人类抗争意识的形成提供了自然条件„19 第二节 古希腊民主政治为人类抗争意识的形成提供了社会条件„„„21 第三节 人本主义精神培养了希腊人的世俗人生观„„„„„„22 第四节 科学精神促成了希腊人命运观念的逐渐淡化„„„„„„„„24 第四章 古希腊悲剧中人类抗争意识的历史演变及其美学思考„26 第一节 古希腊悲剧中人类抗争意识的历史演变„„„„„„„„„„26 第二节 人的自觉„„„„„„„„„„„„„„„„„„„„„„„29 第三节 人的抗争„„„„„„„„„„„„„„„„„„„„„„„32 第四节 人的迷惑„„„„„„„„„„„„„„„„„„„„„„„37 结 语„„„„„„„„„„„„„„„„„„„„„„„„„„„„41 参考文献„„„„„„„„„„„„„„„„„„„„„„„„„„„„42 致 谢„„„„„„„„„„„„„„„„„„„„„„„„„„„„44 攻读硕士学位期间发表的论文目录„„„„„„„„„„„„„„„45 导 论 导 论 悲剧起源于民间对酒神的崇拜。希腊悲剧就是从赞美酒神的颂歌和祭祷发 展起来的，“悲剧”一词，希腊文的原意是“山羊之歌”。祭神者披上羊皮毛， 摹拟酒神狄俄倪索斯的伴侣—萨提尔；这种祭仪中还保留着许多远古时代的习 俗痕迹，公元前七世纪以后，酒神祭仪已盛行于希腊的许多城市。各城邦每年 在春天和深秋都有纪念酒神狄俄倪索斯的节日，春天庆祝酒神降临人间，秋天 庆祝葡萄丰收。传说狄俄倪索斯周围有一群森林之神，希腊人过节时就带着羊 角或羊脚，装扮成神上场，并组成合唱队载歌载舞，赞美狄俄倪索斯。合唱队 的领队出场唱歌叙述酒神在人间时的冒险遭遇和取胜的故事，队员们同时也做 各种表情一忧伤或欢乐。这种表演逐渐被称为“悲剧”。 公元前六世纪，悲剧表演中除了领唱和合唱之外，还出现了演员。特斯庇 斯于公元前534 年首先在“酒神颂”演出时安排一个表演人，让他轮流装扮各 种人物。这使戏剧演出向前迈出一大步，从而构建了戏剧表演的基础。埃斯库 罗斯首先采用第二个演员