Consciousness. Narrative Tradition Of Chinese Classical Tragedy

Tragedy is always boasted as the highest stage of arts, but whether there is any tragedy in China or not is still a controversy. At present, the theoretic foundations of the studies of Chinese tragedy are in chaos in a certain extent. Some people have drawn a conclusion that there's no tragedy in China on the basis of western tragedy theories and works; and some proved the existence of tragedy in China by cobbling together the tragedy theories which suit for the features of Chinese opera in the use of some works of western tragedy theories as well as their phasic theories. However, the studies on western tragedy theories, including the acception and omision of them and the basis of the construction of ethnic tragedy theories have weak bases, lacking a convincing consensus. In addition, some alert-minded scholars have already noticed the issues of tragic consciousness and tragic spirit, which have been involved in their researches of traditional culture in varying degrees, and they've done many in-depth studies on such issues. It is the theories and premise of the studies of Chinese tragedy on how to reconstruct Chinese tragedy theories with the adoption of the western tragedy theories at the same time on the basis of ethnic culture character. On the ground of defining the concepts of both eastern and western tragedies, tracing their general situations, through the visual angle of the distinctions between eastern and western ethnic cultures, the purpose of this essay is trying to re-discuss the unique essence of Chinese classic tragedy with a narrative mode as a cutting point, from the tension of ethnic culture and tragic consciousness, to expand our visions of the studies on ethnic culture, and to construct its theories so that we could deepen our understanding of Chinese ethnic culture.The specific text is divided into three parts, the first overview of the evolution of Chinese and Western theory of tragedy, this section briefly describes the history of Western Aesthetics significant impact on the characters and main theory of tragedy, and tragedy since the introduction of the concept of the last century since the tragedy in China of conditions. Selected for the second part of the main narrative time and narrative structure of these two angles, through the Cultural Psychology of structure and mode of thinking, combined with depth discussions of specific works of Chinese classical narrative patterns in the tragedy inherent in the profound implication. The third part through Dreaming stories embodied in the Eastern wisdom, revealing the unique Chinese Classical Tragedy content.