theories of tragedy

Aristotle's literary theories of tragedy play a significant role in the development of literature.

亚里斯多德对文学作品中的悲剧理论的阐述在文学的发展史上起着重要的作用。

In this paper, the author takes Nabokov and his representative novels as the study objects and attempts to demonstrate the effectiveness of personalized reading by using the theories of tragedy and comedy as well as narratology.

在本论文中，笔者以纳博科夫自身及其具有代表性的长篇小说为研究对象，运用悲剧和喜剧以及叙述学的相关理论加以阐述，试图彰显出个性化的阅读效果。

The Two Categories of Western Theories on Tragedy

西方悲剧理论的两大类型

We can draw up the basic characteristics of tragedy in term of aesthetics if we probe into the history of theories of tragedy and analyze the generally recognized tragic works.

我们从历史的层面上对悲剧进行剖析，对有关悲剧理论进行史的考察，对一些公认的悲剧作品进行分析，可以抽绎出悲剧的本质特征，从美学本质上对悲剧进行定位。

On the Historical Development of the Western Tragedy Theories

略论西方悲剧理论形态的历史演进

In this article, his plot theory as well as the six parts of his theories of tragedy are analyzed and applied to the analysis of Shakespear's tragedies.

他的情节结构理论和悲剧理论的其他六部分，常被用来分析莎士比亚的作品。

This thesis attempts to adopt a parallel study method of comparative literature. By using the theories of sublimity and tragedy, it attempts to discover the similarities of the sublime and the tragic features of heroism in both works and to explore the differences of heroism.

本文拟采用比较文学的平行研究方法，运用崇高和悲剧的相关美学理论，分析两部作品中英雄主义崇高表现，悲剧性审美特征及英雄主义的不同特点，并对两部作品的文化根源进行探讨。

The ancient Greek tragedy of creative practice is the inexhaustible source of the theories of Western tragedy.

古希腊的悲剧创作实践是西方悲剧理论学说的不竭源泉。

Western tragedy theories have undergone three phases of development.

西方悲剧理论先后经历了三个发展阶段。

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.

在现代悲剧理论中，虽然还有少数理论家继续在卡塔西斯上做文章，但对于追求原创性的理论家来说，悲剧反应则成为他们标新立异的竞技场。

The third part of the article focuses on a comparative study of Wang Guo-wei and Zhu Guang-qian's theories of tragedy in the background amidst the tide of western learning entering into China and Chinese modern aesthetics coming into being.

本文的第三部分结合西学东渐及中国现代美学的发生这一背景对王国维、朱光潜的悲剧理论进行比较。