本文關(guān)鍵詞：論亞里士多德《詩學(xué)》中的“好人”　出處：《湖北大學(xué)》2012年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 悲劇 好人 自然 詩學(xué) 亞里士多德

【摘要】：本文從悲劇主角“好人”說起,通過詞義的原文、譯文(中英文)梳理,總結(jié)出《詩學(xué)》中“好人”的幾種譯法：好的外表、高貴的身份、道德美及好的用途�！昂萌恕北旧磉\(yùn)用的希臘語詞匯就不是單一的,而其譯法也較多樣,這些反映了亞氏對悲劇主角的特征不是作單一化的要求,而是有一定靈活性地突顯某些“好”的品質(zhì)。 再結(jié)合亞氏的哲學(xué)觀引入“自然”概念,認(rèn)為“好人”須是能反映人的最佳屬性——理性的對象。柏拉圖也要求悲劇主角能反映其推崇的“理式”,但“理式”不同于“自然”,柏拉圖與亞氏選擇的反映方式也極為不同,這些差異反映在其二人對現(xiàn)實世界的態(tài)度上,也反映在其悲劇主角的理論上。 柏拉圖希望悲劇人物能夠直接反映理式,無須過多地參考現(xiàn)實人物,僅以理念的“好”作為人物的塑造標(biāo)準(zhǔn)。亞氏則將現(xiàn)實作為通往“自然”的必經(jīng)之路,其悲劇主角以理性為主要表現(xiàn)對象,但表現(xiàn)方式是“寓一致于不一致中”,即人物性格是多側(cè)面的。 二人區(qū)別的關(guān)鍵即能否接受人物存在“矛盾”,身份與性格不符,或性格前后不-致。柏拉圖不允許矛盾存在,其理想的悲劇人物更類型化。而允許并提倡表現(xiàn)人物多樣性的亞氏,其人物觀與后世的典型人物有著許多相通之處：均辯證地看待人物,要求人物反映具有概括性的現(xiàn)實的本質(zhì)情況。 亞氏的悲劇人物理論,具有時代的限制性,反映的僅是亞氏所在那個時代的哲學(xué)、文學(xué)觀念,還未重視環(huán)境等外在因素對人物的影響。但其悲劇主角理論也反映出一些超時代的、預(yù)見性的認(rèn)識,有典型人物在文學(xué)史上的蓬勃發(fā)展、典型理論的研究在文學(xué)史的另一頭,與其遙相呼應(yīng)。
[Abstract]:This article from the tragic hero "good", the meaning of the original text, (in English) combing, summed up the Poetics of "good" in < > several translation methods: good appearance, noble identity, moral beauty and good use. "Good" itself by Greek words is not single. But its translation is more diverse, which reflects the characteristics of Aristotle's tragic hero is not for a single request, but have some flexibility to highlight some of the good quality.
Combined with Aristotle's philosophy into the concept of "nature", the "a good person" is the best attribute can reflect human's rational object. Platon also called the tragic hero can reflect its respected "management style", but "management style" is different from "nature", Platon and Aristotle choose to reflect the way is also very different, these differences are reflected in the attitude about the real world, is also reflected in the tragic hero theory.
Platon hopes the tragic characters can directly reflect the physical type, without too much reference to real people, only to the concept of "good" as the standard for cultivation of characters. Aristotle is reality as "natural", the only way which must be passed to the tragic hero with rationality as the main performance targets, but the expression is "put in consistent inconsistent" characters is multi-dimensional.
The key difference between the two people that can accept characters in "contradiction" identity and character, character or not. - before and after Platon did not allow the contradiction, the ideal type of more tragic characters. Aristotle allows and advocate the performance figures diversity, the concept of the character of typical characters and the later plays many similarities: both the dialectical view of the character, the figures reflect the general requirements of the nature of reality.
Aristotle's tragic theory, has restricted the times, just reflect the Aristotle of that era philosophy, literary concept, has not attached great importance to environmental influence on the characters in external factors. But the theory of tragic hero also reflects some time, predictable, typical characters in the vigorous development of the history of literature, the typical theoretical research in the literary history on the other side of its echoes.

【學(xué)位授予單位】：湖北大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：I109

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