曹禺悲剧与喜剧精神立场之比较研究

曹禺创作从前期悲剧转入后期喜剧涉及到他的深层精神立场。超越精神是曹禺悲剧的精神立场,实用理性是他喜剧的精神立场,《北京人》作为正剧是两种精神立场冲突的结果。由此可以深入地分析曹禺创作的内在理路,把握曹禺剧作的深层意蕴,并对曹禺创作道路及其所依托的精神传统展开一定的反思。     

对十七年"歌颂性喜剧"的反思

中国当代喜剧精神失落的原因之一,就是喜剧观念的僵化和迷失,而其突出的表现就是“歌颂性喜剧”被大力提倡。“歌颂性喜剧”在本质上是违背艺术规律和喜剧精神的一个伪命题。被称为“歌颂性喜剧”代表作的喜剧电影《五朵金花》和《今天我休息》则内容虚假、思想肤浅、艺术上做作,这样的作品谈不上是喜剧的成功之作,更不能代表社会主义喜剧的发展方向。因此,“歌颂性喜剧”是一个需要清理和反思的喜剧创作的误区。     

《神曲》情结与“灵的文学”——评老舍文学理想及其实践

老舍心仪但丁的《神曲》并以之为标杆,大力提倡“灵的文学”。旗人固有的伦理立场和对宗教的隔膜,使得老舍“灵的文学”的创作实践虽达不到但丁《神曲》的高度,却开拓了现实主义文学罕见的深度。     

境与中国古典喜剧美

文章明确提出中国古典喜剧的终极关怀是生命的成长这一命题,与西方否定性喜剧相反,中国古典喜剧基于对生活的肯定,其基本类型是贬恶扬善、畅想“团圆”和微言刺上.哲学基础与审美形态是圆周性思维与评判式冲突,在“团圆”之趣中表现出顽强性与顽固性的抗争,唱出正义战胜邪恶的“生命”之歌.     

论喜剧文学的美学品质

喜剧的美学品质在于：喜剧与悲剧是异体同源的艺术体裁,它们的精神是人类生命的内省意识,喜剧的＂笑＂与悲剧的＂泪＂相反相成,互相融会,喜剧的笑隐含着伟大的悲剧精神。喜剧产生于社会的民主意识,这种意识是人类生命追求平等、自由和爱的精神,放弃这一点,就等于放弃了喜剧的灵魂。     

批评视角与国外的《神曲》研究

西方的<神曲>研究经历了六个多世纪的历程,从介绍点评开始,中经实证的阐释,发展到晚近的意蕴开拓,经历了一个由表及里、由浅到深的过程,而这一过程正与西方人由表入里、由局部到整体认知思维水平的发展过程同步同构,其规律性昭然可睹.     

论风俗喜剧的形态特征

The Comedy of Manners has been studied by scholars as a comic genre since the appearance of Restoration comedy, but the problem of defining it remains unresolved. The study distinguishes among the features of “manners”, “wit” and “intrigue”, and points out that the Comedy of Manners has retained its own peculiar characteristics since the Restoration period, thus suggesting that the definition of the Comedy of Manners as a genre should not be limited to the days when it thrives, the historical and cultural context in which the genre evolves be taken into account so as to make a better study of the genre today.     

Laughing otherwise: comic-critical approaches in alternative comedy

Abstract

The origins of ‘alternative comedy’ are difficult to pinpoint, though it coincided with the rise of Thatcher as Prime Minister in 1979 – that year saw the appearance of something called ‘alternative cabaret’, a term usually associated with Tony Allen, who combined activism and comedy. The acts this article will focus on are those which took a critical approach to comedy and/or politics – ‘alternative’ comedy (or altcom), therefore, as seeming to promise change through critical awareness. This paper will discuss parody as a means of critical (dis)engagement and transformation, in relation to context, and to influences such as punk. Altcom demonstrates an apparent eschewal of approaches which rely on irony and ambiguity, in favour of more ‘direct’ political engagement. It will be argued however that such ‘direct’ approach does not cancel out critical distance, but rather seeks alternative routes to establish it – namely comic and parodic overstatement, and the problematisation of ‘trust’. This entails the key questions of whether parody may take up critical distance without irony, as well as of the political implications of an approach which seeks to eliminate ambiguity. This more ‘direct’ approach however still depends on a balance of engagement and disengagement, requiring distancing from pre-established codes.     

《神曲》：诗性的乌托邦

《神曲》以隐寓的方式，指出人类怎样从迷惘和错误中经过苦难和考验，达到真理和至善的境界。诗人提出的道德救赎和精神救赎实际上是诗性的乌托邦。     

The cultural currency of a 'good' sense of humour: British comedy and new forms of distinction

Traditionally considered lowbrow art par excellence, British comedy has grown steadily in legitimacy since the 'Alternative Comedy Movement' of the early 1980s. Yet while there might be evidence of a transformation in British comic production, there is little understanding of how this has been reflected in patterns of consumption. Indeed, there is a remarkable absence of studies probing comedy taste in British cultural sociology, most notably in Bennett et al's (2009) recent and otherwise exhaustive mapping of cultural taste and participation. This paper aims to plug this gap in the literature by examining contemporary comedy taste cultures in Britain. Drawing on a large-scale survey and in-depth interviews carried out at the Edinburgh Festival Fringe, it argues that comedy now represents an emerging field for the culturally privileged to activate their cultural capital resources. However, unlike previous studies on cultural capital and taste, this research finds that field-specific 'comic cultural capital' is mobilized less through taste for certain legitimate 'objects' of comedy and more through the expression of rarefied and somewhat 'disinterested'styles of comic appreciation. In short, it is 'embodied' rather than 'objectified' forms of cultural capital that largely distinguish the privileged in the field of comedy.