Classic And Modern

Foucault's "episteme" pointed out that people' understanding of things and constructions of knowledge "the history congenital basis", and then they understanded each other or agreed with each other. According to Foucault's "episteme", no matter how the understanding of things and research of the art of tragedy changed during the past 2500 years, tragedy category has ultimately completed the turn from classical to the modern through partial or overall change.In classic period before the late 18^th century, people supposed that tragedy had truth and goodness and beauty on the pronciples of the same and difference. In modern period after the late 18^th century, people discovery that tragedy have "beauty" on a principle of a discontinuity the organic structure. In classical episteme, the understanding of the same tragedy category is different to some extent because of in different time and space, but they are similar on the whole. In modern episteme, it is separated or antagonistic on the whole, even sometimes is accidental similar for the same category in different time and space. Second, According to ancient and modern tragedy theories, understanding and building the knowledge of tragedy art beginned with the following seven caregories: imitation and creation, the tragic, tragic plot, tragic character, tragic performance, tragic response and the end of tragedy. Finally, there are different common principles about understanding things and building knowledge in different periods, so the understanding and research on tragedy art is also different. In the early stage, because understangding and studying of tragedy art chiefly based on internal research, the important points focused on imitation, tragic plot, tragic response, and then tragic character. However, in the latter stage, understangding and studying of tragedy art chiefly based on external research, the important points focused on creation, the tragic, tragic performan, the end of tragedy, then tragic character and tragic response.As tragedy of one of drama forms independent of the real-life world, the difference between tragedy art and reality "taragedy" is imitation in ancient knowledge Paradigm; but it is creation in modern knowledge Paradigm. After having separated tragedy art from reality tragedy, we should tell tragedy art from other arts. Before the late 18^th century, the difference between tragedy art and other arts are the following: first, the action of organizing tragic plot, followed by tragic character and tragic response Katharsis. After the late 18^th century, the difference is the tragic first, second tragic character and tragic response.To tragic plot, although some theorists (such as Lessing) stated some different views about "the Three Unites" of tragic plot in classic period, but they all agreed that tragedy which was success or not depended on tragic plot. In modern period, we not only denied "the Three Unites" by creation, but also completely subvert the Alstotle plot centre by focusing on the tragic and tragic character. When the ancient social hierarchy was changed into a modern democratic society in the 18^th century, people not only didn't make any progress in the direction of harmony, but also was splited, fragmented and alienated in the functioning of machines. So it is the main task of tragedy art of this era to depict various characters, meanwhile, it is the focus of modern tragedy theories that theortically explaining the people with inherent dignity and foreedom is the real tragic character. To tagic response Katharsis, Aristotle didn't elaborate, but in classic period after him, the researches confirmed the specific response to tragedy, and it caused dinnumerable explantions and arguments. In modern tragedy theories, a minority theorists continue to make a fuss about Katharsis, the theorists who pursuit the original regard tragic response as their stadiums of starting something new just in order to be different. Because Aristotle and bis followers concerned about tragedy and their components, the ancient tragedy theories referred to an aesthetic experience of the tragic (tragedy for the general of tragedy) which only was really concered about in modern period. The foundation of modern tragedy theories can be really found when it abandoned the aesthetic "effect" and discuss tragedy from "the tragic itself".Aristotle stated clearly that tragedy performance is one of the tragedy six components long ago. But it didn't receive proper recognition and evaluation in the whole classic period. After entering modern episteme, most arists and theorists cherish to achieve national and personal dreams by tragedy art especially theatre arts, therefore tragedy performance gain full of understanding and evaluation, and even some overkill. Tragedy is in history, it must have an end to the problem. In ancient knowledge paradigm, tragedy as an imitative art is regarded as a possible at any time, the end of tragedy of the proposition has even occasionally, it actually did not appear. After the late18th century, tragedy is regarded as human products of having its own history and the rise and fall, the decline of tragedy art (as well as the origin and development) will constantly rise to the surface, and torture human intelligence.In short, to understand theses 7 (group) tragedy categories, it is evident that they undergo two stages of classical and modern, regardless of a single category or all categories, it is evident that after two stages of classical and modern. People relyed on the same and difference principles to understand tragedy art, to build classical tragedy theories of having truth and goodness and beauty in particular truth and goodness, which based on a premise of imitation, and the centre of tragic plot in classic period. In modern period, people no longer depend upon the same and difference principle, but the principle of a discontinuity of the organic structure to understand tragedy art, to construct modern tragedy theories of "beauty" which base on a new premise of creation and the centre of the tragic.