1) On the Aesthetic Character of the Tragedy
论悲剧的美学品性
2) the tragedy of aesthetics
美学的悲剧性
3) tragic esthetics
美学悲剧性
4) On Aesthetics of Tragedy
论悲剧美
5) tragic aesthetics
悲剧美学
1.
Taking the oral and written Jingpo literat ure as a whole, the author gives a systematic analysis of the origin and development of the tragic aesthetics revealed in Jingpo literatur e, describes the general development of the aesthetic ideas and standar ds of the Jingpo nationality,and concludes that it is a process from imagination to reality.
本文通过对景颇族口头文学和作家文学的整体考察,对景颇族文学中悲剧美学的产生和发展进行了脉络式的分析,描述了一个民族从幻想到现实的大致审美历程。
2.
The initiation of Jin Yunqiao Biography in tragic aesthetics theory in China, the artistic pursuit of confronting reality, the conscious reflection of feminine tragic fate in the fedal society, the artistic quality and style of centering on love but not involv.
《金云翘传》所开创的中国悲剧美学理论， 直面现实的艺术追求， 对封建社会中女性悲剧命运的自觉反映， 以情为主却不涉淫乱的艺术品味，艺术加工的典型化理论，人物塑造、情节设计、寓意象征手法等等，都对《红楼梦》有重大影响。
6) tragedy aesthetics
悲剧美学
1.
Tragedy Aesthetics by Zhang Hengxue, while sorting out tragedy theories at home and abroad, is a profound reflection of ways in which tragedy aesthetics is studied and criticised according to the main stream political discourse.
张恒学专著《悲剧美学》，较全面地梳理中外悲剧理论，对简单依服主流政治话语进行悲剧美学批评与研究的做法进行深沉反思，又始终依据于社会—文化的基点，从新时期悲剧小说切入对创作实践中悲剧意识做了较系统的挖掘和分析。
2.
In the second half of the 19th century, in Germany, however, tragedy aesthetics got free from Classicism represented by Hegel and entered a new era represented by Nietzsche.
而作为由近代到现代的交界点,19世纪中后期的德国的悲剧美学也在这两个端点之间总结了古典开启了现代。
补充资料：连续性与非连续性(见间断性与不间断性)
连续性与非连续性(见间断性与不间断性)
continuity and discontinuity
11an父ux泊g四f“山。麻以角g、.连续性与非连续性(c。nt，n琳t:nuity一)_见间断性与不间断性。and diseo红ti-
说明：补充资料仅用于学习参考，请勿用于其它任何用途。
参考词条