术语“三一律”的详细信息

英译术语:

three unities

汉语语境:

但在18世纪末以后，这种区别首先是悲剧性，其次是悲剧反应和悲剧人物。对于悲剧情节，古典时期尽管有些理论家(如莱辛等)对情节的“三一律”提出过异议，但都赞同悲剧成功与否在于悲剧情节的组织。进入现代时期以后，人们通过创造概念否定了“三一律”，而且通过把悲剧性和人物形象塑造置于悲剧艺术中心，从而彻底颠覆了亚里士多德以来的情节中心论。但是，当整个西方在18世纪由古代等级制社会转换为现代民主社会，人不但没有朝向和谐全面的方向进步，反而在机器的运转中被分裂、被碎片化、被异化，于是描绘各种悲剧人物就成为这个时代的悲剧艺术的中心任务，从理论上阐述，那种具有内在尊严和自由的人才是真正的悲剧人物，也成为现代悲剧理论关注的中心。

英语语境:

After the late 18th century, the difference is first the tragedy, second tragic characters and tragic response. To tragic plot, although some theorists (such as Lessing) stated some objections about "the Three Unites" of the tragic plot in classic period, but they all agreed whether tragedy was successful or not depended on the tragic plot. After entering the modern period, people not only denied "the Three Unites" by creation the concepts, but also completely subverted the plot centre since Aristotle by placing the tragedy and character image building in the center of tragic art. However, when all the west in 18th century was changed from the ancient hierarchical society into a modern democratic society, people not only didn't make any progress toward a harmonious and overall direction；instead, they were splited, fragmented and alienated in the functioning of machines. So depicting various tragic characters is the central task of the tragic art in this era, and theoretically illustration, the real tragic characters are the people who have inherent dignity and freedom; therefore, they also become the focus of modern tragedy theories.