To Explore The Aesthetic Characteristics Of The Art Of Tragedy In Chinese And Western Comparative Perspective

Tragedy, has always been known as the highest stage of the art, shocked and inspired the world with its deep and passionate artistic spirit and artistic charm. Chinese and western tragedy art has a long history, from the ancient Greek "three big tragedies" tragedy to the Renaissance tragedy with Shakespeare as the representative, from the tragedy of the China late Song and early Yuan Dynasty to the Ming and Qing tragedy, classic works emerge in an endless stream. With the development of the Chinese and western tragedy art, they formed their own unique theory of literature and art. In many of the theory of tragedy, we found that in Chinese and Western comparative perspective, the theory to explore the aesthetic characteristics of the art of tragedy is relatively less, especially in the age of mechanical reproduction, rapid development of new media technology, led to the traditional dramatic art for stage performance forms of impact, more and more marginalized, it is necessary for us to explore the aesthetic characteristics of the art of tragedy again, in order to explore the tragedy art unique artistic vitality. This thesis tries to make a bold exploration to the aesthetic characteristics of the art of tragedy in Chinese and Western Comparative Perspective, in order to reshape the important position of the art of tragedy in aesthetics.In the introduction, we roughly combing the history of Chinese and western tragedy, introduces the present situation of Chinese and western tragedy art performances are marginalized in the modern technological rationality, put forward the question of the future of Chinese tragedy and Western tragedy. In the first chapter, we made a preliminary analysis of the text of Chinese and Western classical tragedy, the tragedy of the West we selected the ancient Greek "three big tragedies" tragedy: Askew Ross’s "The Seven Against Thebes" "The Persians" "Plo Michel J bound" "A Women Pray for Assistance" "Agamemnon" "Elderly people" "Nemesis", Alfonso Fochler J’s "Antti Gore Ne" "Oedipus", Euripide’s "Medea"; and the Renaissance of Shakespeare’s four tragedies:"Hamlett" "Osero" "King Lear" "Macbeth". China chooses the ten classical tragedy:the Yuan Dynasty’s "Dou E’s Tragedy " "Autumn in The Han Palace" "The Orphan of Zhao" "The Story of Lute", the Ming Dynasty’s "The Patriot Flag" " The Story of Jiao Hong", the Qing Dynasty’s "Innocent and Faithful Facebook" "The Palace of Eternal Youth" "The Peach Blossom Fan" "Lei Feng Pagoda". In the second chapter, we first make the horizontal comparison of the Chinese and Western classical tragedy, and reached three differences:on the tragic major character, the west is "hero", China is "poor"; on the tragic conflict, the west is "internal conflict", China is "external conflict"; on the tragic ending, the west is "a sad in the end", China is "reunion". Then we explore the causes of differences between Chinese and Western classical tragedy from four aspects of geography and history, economy, culture, language, religion and philosophy as the longitudinal comparison. In the third chapter, we summarized the four aesthetic characteristics of the art of tragedy from the four theorys of Marx’s literary theory, Zhu Guangqian’s tragic psychology, the German classical aesthetics, the Chinese ancient literary theory:1, "purification" and "pleasure"; 2, "sublime" and optimism; 3, the suffering consciousness and the spirit of transcendence; 4, the aesthetic education function. Finally, we combine the characteristics of rapid development of the new media art under the background of "the age of mechanical reproduction", to discuss on digestion of new media technology on the concept of classical tragedy, and the possibility of tragedy art innovation, further confirms the status and value of the art of tragedy in aesthetics. In the conclusion part, we review the history of the development of the art of tragedy, and prospect the future development of Chinese tragedy and western tragedy, pointed out that in the human civilization history, the spirit of tragedy is not with the passage of time. Human understanding of self and society pace never stop, the aesthetic characteristics of the art of tragedy will also be constantly enriched and developed, the art of tragedy and human civilization existed at the same time.