下面为大家整理一篇优秀的paper代写范文- The birth of tragedy,供大家参考学习,这篇论文讨论了《悲剧的诞生》。在《悲剧的诞生》一书中,尼采表达了他的悲剧艺术观念。艺术是对梦境的模仿,悲剧艺术代表希腊人对生活的理解和体验。艺术欢乐源于酒神狂醉的忘我体验。人们在悲剧合唱队里获得个体生命消失的体验,实现了对终极命运的消解。悲剧的功能在于以审美的态度对待人生,获得暂时的解脱。
On Nietzsche's tragic thought, it is generally believed that the focus is embodied in the book "The Birth of Tragedy", but, because of the different versions of the translation, the understanding of his tragic thought is not consistent, this article tries to the "tragedy of the birth of" reading, on the book's tragic thought, to talk about some understanding. This article holds that the tragic thought in this book can be summed up in four aspects: first, the art is the imitation of the Dream, and the dream is the image of Apollo embodied in the real life and the experience of this life. Second, the art of joy from the intoxicating spirit of ecstasy experience. People in the tragic chorus of the individual disappeared into the universe as a whole experience, dispelling the ultimate death of the fear of fate. The third is the Greek tragedy is the Apollo image and the Nesos spirit combination of the product, Apollo image is the external form of Greek tragedy, the Nesos spirit is Greek tragedy ideological content. Four is the function of tragedy is to make mankind obtain the metaphysical solace.
In "The Birth of Tragedy" a book begins Nietzsche to put forward "the sustained development of art by the Apollo Spirit and the Nesos spirit of the two-yuan restrictions, ... The continuous struggle between the sexes, but only through periodic reconciliation, we have benefited a lot from aesthetic science. ...... In connection with the two artists, Apollo and Nesos, we realize that ... There is a great antagonism between the Apollo Art, the plastic arts and the Dionesos art, namely the non modelling music art. ...... At last...... Make the two seem to be together, ... The tragedy of Attica, which is both Nesos and Apollo's works of art. Nietzsche likened the two spirits to dreams and intoxication. So what is the relationship between the Greek tragedy as an art and the dream and the intoxication? Why do Greeks like tragedies so much?
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Nietzsche borrowed the view of Schopenhauer to expound the relationship between dream and art: "At some point you can feel that man and all things are the endowments of pure illusion and dream, which is the mark of Philosopher's ability." "It can be seen that the difference between the philosopher and the ordinary man lies in the fact that philosophers feel that people and reality often show illusory features of dreams, a phenomenon that produces a true sense of illusion, and ordinary people do not experience it." The relationship between the philosopher and the reality is very similar to the artist's relationship with reality. On the relationship between artist and reality he suggested that "the relationship between the artistically sensitive man and the dream reality is comparable to that of the philosopher and the reality of existence." He likes to ' watch ' the dream reality, because he interprets life according to the images in the dream, and through these processes he drills himself to adapt to life, ... Because he lives and suffers in these scenes. But on the other hand, he still had that illusion of faintly feeling. "Nietzsche believes that the artist's sense of the relationship between people and the dream world, like the relationship between the philosopher and the reality, philosophers often regard the reality as an illusory phenomenon, it is not the essence, but temporary appearance." Artists experience the essence of life through their understanding of dreams. Therefore, the experience of the dream is the experience of reality, the experience of this illusion is often brought to the experience of joy and pleasure, this is the effect of art, so art is The imitation of the dream, that is, "The beauty of Dreams is the premise of all plastic Arts." Nietzsche further "The relationship between the Greek artist and the archetype", to speculate that: "Given their incredible stereoscopic ability in the eyes, their persistent and sincere love of color, we should not only think that their dreams also have a logical causal relationship of line, contour, color, layout, With their finest reliefs of similar stage effects, this makes all posterity ashamed. The perfection of their dreams gives us reason-if it can be likened-to call the dreamer the Greeks homer and to call Homer the dreamer of the Greeks. This analogy is more profound than that of modern people who dare to dream more than Shakespeare. "This explains Nietzsche's belief that the Greek obsession with dreams has reached a level comparable to the art created by artists in reality; their dreams are the theatrical effects of reality; everyone is an artist like Homer. Art comes from dreams, it is the imitation of dreams.
Spirits of Dionysus flowed from non-Greek to Greece. Because of its indulgent animal character, the Greeks began to resist the spirit of Apollo. But because of the tremendous impact of this carnival power, the Apollo Spirit had to reconcile with it. The reconciliation caused a great change in the spirit of Greece. The experience of making the Greeks a new life experience was the "ecstasy" that they had achieved in the chorus of the Wine God Day, which made the Greeks feel as if the feast of the Gods was "a day to save the world, a time to be deified", The song and dance of the original life and the music of Apollo, which had been circulated in the Greek area, were quite different from the music of the gods, the kind of music developed to depict the state of Apollo as a kind of metaphorical voice peculiar to the harp. And those who decide the characteristics of the Nesos music and even the general music of the factors-the tone of the touching shock, the melody of the strong running straight, harmony, the incomparable realm. "Only" in the Nesos Carol, people are strongly stimulated ", in such a strong stimulus, people can" most fully mobilize all his symbolic ability, "and produced" some never had feelings." This powerful symbolic power of the Nesos music, is the tragedy and music of the spiritual archetype of the non plastic arts, in this music stimulated people to achieve the realm of ecstasy, so as to achieve the wine God Festival believers in their own vitality of the symbolic capacity of the maximum release, And this kind of symbolic power is the wine God believers to the life fear experience performance. The Greeks at first did not understand this spirit, is the fear of the Apollo-type life consciousness and the Nesos of the life of the Russian Association. In the Apollo art, people rely on Apollo's fantastic and magnificent icons to overcome the fear of existence, which is the same meaning that Nesos music causes people to forget themselves and thus get rid of the present fear. From this point of view, the Greeks felt that the spirit of Apollo and the Nesos spirit in the essence is the same, they are the manifestation of human nature, Apollo Spirit is a human illusion, Dionesos spirit is a person's sense of intoxication. Their function is to overcome the hardships of life refuge.
Nietzsche believes that tragedy is the result of the interaction between the spirit of God and the spirit of Dionysus, first of all, in the wine of God's song, is the crazy drunk Nesos The spirit of the stimulation of the chorus members in the excitement of the mood, the emergence of "dramatic original phenomenon:" As if they really enter another body, into another person. Nietzsche believes that there is an essential difference between the ode of Dionysus and other choirs. Other choirs will not forget their real identities, such as the choir of the Apollo sacrifices, and the wine God chorus is completely oblivious to their past and social status in the world. In the Ode to the gods, the performers seemed to be possessed, both as performers and bystanders. As spectators there was an illusion in their eyes. And this illusion is the scene on the stage-drama. The reason for this effect is that in the process of the wine God, the actor has to mobilize the two natural abilities-dreams and drunkenness. The Greek tragedy is the result of the interaction of these two instinctive forces. The tragic dialogue and the plot are the illusions that come out of the drunken spirit of the ode Chorus. The concrete form of this illusion is the Greek tragedy, the Apollo image is the external form of the Greek tragedy, and the Nesos spirit of the Russian is the ideological content of the Greek tragedy. This Nietzsche further explained that "the Greek tragedy is understood as the continuous evolution of the Apollo phenomenon and the Nesos chorus." The chorus part that joins the tragedy is the mother belly of all so-called dialogues, that is, the whole image world and the drama itself. In many successive evolutionary processes, the original roots of tragedy radiate the illusion of drama. This illusion, on the one hand, is a fantastic phenomenon, and thus has the nature of Homer's epic, but on the other hand, as the Nesos of the state of Di-Russia, he is not in the image of the Apollo-type relief, but the disintegration of individuals, individuals and too one integration. It can be said that drama is the Apollo-type sensibility of Nesos cognition and effect of Di-Russia, so it is different from epic. That is, the purpose of tragedy is to use this form to achieve the dissolution of individual life, into the whole life of the universe, so as to achieve the artistic effect of escaping from the reality of fear.
Nietzsche believes that tragedy is the spiritual pillar of the Greek survival, the Greeks rely on this fictional art world, to forget the reality of pain. Tragedy is another form of Greek life, where art and life are intertwined. The interweaving is "the chorus team that played the daughter of Poseidon really thought they saw the giant god Prometheus." "In other words, the SA chorus as the first form of tragedy, although art creation, ... But this kind of creation is by no means random imagination, it is the result of the combination of spirit of God and spirit of Dionysus, it is the spiritual power of the Greeks to get rid of the fear of life. In the view of the Greeks, these images in the tragedy came from the world of Olympus God, which the Greeks believed existed. The image of the Nesos in the chorus is a symbol of the spirit of the Russian people, and the tragedy is of religious significance to the Greeks because of the Greek worship of mythology and religious ceremonies. The Greeks in the face of tragedy, they will forget the reality of their own, experience is the entire universe that eternal life as a whole. To this Nietzsche said: "The drunken state of Nesos, including his general boundaries of survival and the destruction of barriers, in its continued process contains the elements of the river, the past experience of everything has become blurred, forgotten." Such a forgotten river separates the daily real world from the real world of Nesos. ...... Once one realizes the truth he sees, what he sees within the seas is only the monstrous absurdity of existence. At this time "only art can make a terrible sense of survival ... Into the imagination that can make a living, these imaginations are: the art of containing the terrible is the sublime solemn, the art of dissolving the absurd disgust that is ridiculous. The chorus of the song of Dionysus is the salvation of Greek art.
To sum up, in the "Tragedy of the Birth," a book, Nietzsche expressed the tragic art concept: first, art is The imitation of Dreams, tragedy art represents the Greek understanding of life and experience. Secondly, the joy of art stems from the ecstasy experience of Dionysus. People in the tragic chorus team to obtain the experience of the disappearance of individual life, to achieve the ultimate fate of the dissolution. Thirdly, the Greek tragedy is the combination of the Apollo image and the Nesos spirit, the Apollo image is the stage form of the Greek tragedy, the Nesos spirit of the Russian is the ideological content of the Greek tragedy. The function of tragedy is to treat life with aesthetic attitude and get temporary relief.
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