The Elegy Of Tragedy

For the contemporary Chinese aesthetic culture ecology, has Nietzsche beenout of date yet? Especially, does the tragic concept in his "the birth of tragedy"which means Aesthetics saves life have any unfinished significance? In this paper,in order to try to respond to this question，we build a Dionysian dialogue acrosstime and space between the birth of tragedy and the Chinese music talent show. Theclassical tragic significance composes one member of the dialogue——By returningto the original tragic context of Nietzsche’s "the birth of tragedy"，and then placethe context to the ancient Greek tragedy to find out the tragic theme of poetictheory，so the classical tragedy significance is constructed. Another member of thedialogue is the pseudo-tragic concept in Chinese aesthetic culture ecologic whichhas been remolded by consumption——By searching the logicality of culturalconsumption in Chinese music talent shows which is a product of universalaesthetic consumption, we can elucidate that consumption tactic is how to controlthe pseudo-tragic concept. We want to emphasize that the modernity ofenlightenment have already doomed the death of tragedy is an elegy of irreversible time，Even Nietzsche, has given up the chances of the Renaissance. So this paper isnot through the Dionysian dialogue to regard tragic concept as value standards intoChinese music talent show，to open a dose of medicine for the contemporaryChinese aesthetic culture ecological, instead, with the help of a tragic perspective,we reflect on the difficult position of consumption in the contemporary Chineseaesthetic culture ecology, searching for the roots of vitality for human’smaterialization.According to the above purpose, this paper is divided into five parts：Introduction is based on the original works of "the birth of tragedy" interpretationand local transplantation research, and put forward our own research perspectivethat the tragic concept should be revaluated in Chinese aesthetic culture ecologicwhich have been remolded by consumption. The first chapter is back in the contextof Nietzsche’s "the birth of tragedy", explains the concept of the constitution andthe theory of personality about tragic. The second chapter is on Nietzsche’s tragicvision, reinterprets the representation of tragic concept of poetics in the ancientGreek tragedy art. Compared classical tragic significance in the first two chapters,the third chapter analyzes China’s music talent show’s characteristics ofconsumption, to understand that modernity uses consumption to realizetransformation of pseudo tragic of aesthetic. The final conclusion part is again fromthe perspective of individual life and human culture, to summarize the modernsignificance of tragic——Even realizing the meaning of Nietzsche’s aestheticsalvation is not possible, it should be as a reference value to know life and knowyourself. Now please focus on the article architectures, this paper refers to thewritten form of music tragedy, is divided into "motivation"," theme " and"polyphony" three parts, Progressively part by part,to construct the Dionysiandialogue, to revive Nietzsche’s tragic glorious In "the birth of tragedy". In particular,it’s around a tragic aesthetic life as the Dionysian music motivation, following thetragic aesthetic sample built by tragedy poetics as the Dionysian music theme, torealize the Dionysian dialogue with Chinese music talent show with theinvolvement of consumption as the Dionysian music polyphony. We hope with the help of Nietzsche’s Dionysian personality, we can compose a Dionysian carol, anelegy which laments for tragedy spirit devoured by aesthetic consumption in thismodern and post modern enlightenment context.