Dissertation
Dissertation > Philosophy, religion > Psychology > Psychological theory > Of psychology factions and their research

Criticisms and Comments on Psychology in Tragedy Written by Zhu Guangqian

Author WangYanLi
Tutor WeiJiuYao
School Yan'an University
Course Literature and Art
Keywords Zhu Guangqian Tragedy Psychology psychological distance tragic pleasure theoretical features
CLC B84-06
Type Master's thesis
Year 2010
Downloads 395
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Zhu Guangqian, a great master in aesthetics, is one of pioneers and founders of modern Chinese aesthetics. Psychology in Tragedy written by Zhu Guangqian which is the first modern monograph on the research of Western Tragedy Theory in China fills in the gap of the research of tragedy aesthetics in China. In Psychology in Tragedy, Zhu Guangqian focuses on discussing the aesthetic essence and characteristics of tragic pleasure. Firstly, Zhu Guangqian believes that the psychological distance is the prerequisite condition of tragic pleasure because the right psychological distance is the basis of producing tragic pleasure. And Zhu guangqian uses the psychological distance into tragedy and put it into effect based on the theory of Blow’s aesthetic distance. In the basis of psychological distance, Mr. Zhu reveals the origin of tragic pleasure. He believes the reasons for the formation of tragic pleasure is variety and it starts from a broad base to gradually narrowing the extension and finally forms tragic pleasure theory of a "pyramid". And Mr. Zhu aims at attribution for the tragedy to obtain the unique "clean" on view based on the analysis of pity and fear. On the basis of analysis of tragedy pleasure, he, furthermore, sums up the aesthetic features which appear a sense of lofty and destiny. However, although Zhu Guangqian links with the tragedy and lofty together which is of the significance of pioneer, this views that the lofty is only theory is bias. At the same time, Zhu Guangqian also thinks that tragedy is inseparable from a sense of destiny and he come to the conclusion of the decline of the theory of modern tragedy. In a certain degree, it is rationality that Zhu Guangqian measures tragedy using a sense of destiny but he who takes Greek tragedy as the standard regards the fate as an indispensable feature of ancient and modern tragedy which is lack of development and changes in vision.All in all, from the Psychology in Tragedy, we can find that Zhu Guangqian is selective and targeted to accept, absorb, criticize and surpass the tragic theory of the West esthetician based on criticizing various theories of tragic pleasure. Firstly, in the methods, contrasted with a metaphysical way of thinking of the past philosophers and aestheticians, he finds a unique way to research tragedy which is a physical method of combining with practical work. Secondly, in theory, earnestly practicing to eliminate bias, he makes a comprehensive and systematic summary about the theory of tragedy in the history based on the criticism and conclusion. Based on absorbing, critical, inheritance and integrated the previous theory, Zhu Guangqian develops a unique theory. First, he advocates learning with the birth of the spirit ; second, he forms his own network of theory by multidimensional knowledge structure based on philosophy, psychology, literature, history and other subjects of empirical etc.; third, integrating Chinese and Western theory, that is, combining the western theory such as Western Aristotle, Kant, Croce, Schopenhauer, Nietzsche with Chinese traditional culture such as Confucianism, Buddhism and Taoism, Zhu Guangqian who always behaves with the Confucian, thinks with the Tao, and also studies the Buddhism becomes a master of aesthetics with the Confucian, the Tao and also the Buddhist. Finally, Zhu Guangqian sets up a communication bridge between Chinese and Western culture because of his compromise harmonic thinking and therefore he has made an indelible contribution to China modern aesthetics.

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