戏剧作品中意义的体现

Y. V. Podkovyrin
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引用次数: 0

摘要

本文的研究对象是戏剧作品的语义组织。研究的主题是戏剧作品中由于其共性特点而产生的意义更新的特殊性。本文以化身(实现)的概念来描述艺术意义的具体内容。同时,本文揭示的不是神学,而是美学(以巴赫金20世纪20年代的作品为基础),以及上述概念的解释学内容。本文着重探讨了古典与现代戏剧作品中意义化身的共性特征。本文的科学新颖性在于,它首次(通过化身的概念)揭示了戏剧作品意义更新的一般特征,即:1)强调人物存在意义从可能性模式向现实模式转变的过程;2)将一个人物置于戏剧世界的中心,他从一系列可能的选择中选择自己的生活意义;3)对人物生活的艺术理解是作为一个有限的视界来实现语义可能性,如时间(作为条件的“现在”,未完成的“现在”)和空间(作为有限的和可见的条件的“这里”)的具体形象所表明的;(4)在非古典戏剧中,意义的化身与人物“随意”的形象(海德格尔)的联系主要不是在人际交往的空间中,而是在意识和/或语言的领域中
本文章由计算机程序翻译,如有差异,请以英文原文为准。
INCARNATION OF MEANING IN A DRAMATIC WORK
The object of research in the proposed article is the semantic organization of a dramatic work. The subject of the study is the peculiarities of updating the meaning in a dramatic work, due to its generic specifics. The specifics of artistic meaning are described in this article with the concept of incarnation (implementation). At the same time, the article reveals not theological, but aesthetic (based on the works of Bakhtin of the 1920s) and the hermeneutic content of the above concept. The article focuses on identifying the generic features of incarnation of meaning in works of both classical and modern drama. The scientific novelty of the article is determined by the fact that for the first time (through the concept of incarnation) it reveals the generic features of updating the meaning in a dramatic work, namely: 1) emphasis on the process of transition of the meaning of the characters’ being from the mode of possibility to the mode of reality; 2) placing in the center of the world of drama a character who is in a situation of making a choice of his own life meaning from a range of possible options for its implementing; 3) artistic understanding of the characters life as a limited horizon for the implementation of semantic possibilities, as indicated by the specifics of the image of time (as conditional “now”, unfinished present) and space (as limited and visible conditional “here”); 4) in a non-classical drama, the connection of incarnation of meaning with the image of characters throwing “their being at opportunity” (Heidegger) is mainly not in the space of interpersonal communication, but in the spheres of consciousness and/or language
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