第三章从经典美学中的悲剧意识出发，试图寻找出动画艺术文本叙事范式的审美张力与思维深度的支撑点。
The third chapter in the tragic sense of classical aesthetics, tries to find out the animation art aesthetic paradigm Narrative tension and depth of support points of thinking.
第四章笔者则选取悲剧意识、自然生命意识、当代意识这三个审美范畴来思考农民形象自身审美特征的演绎。
The fourth chapter author demonstrated the esthetic characteristic from these three esthetic categories such as the tragedy consciousness, natural life consciousness, current consciousness.
三是洋溢着哀伤凄苦的悲剧意味。这种现代意识是时代的产物，也是庐隐创作的审美选择。
Such modern sense was the product of The Times and the topic of Lu Yin's aesthetic approach.
在第三章，就李贺诗歌悲剧意识的审美从五方面进行了分析：以“病”为美、以“悲”为美、以“寒”为美、以“丑”为美、以“怪”为美。
In chapter 3, the author analysis the aesthetic factors of the tragic sense: that is, the use of illness, sorrow, coldness, ugliness and oddity as beauty.
在第三章，就李贺诗歌悲剧意识的审美从五方面进行了分析：以“病”为美、以“悲”为美、以“寒”为美、以“丑”为美、以“怪”为美。
In chapter 3, the author analysis the aesthetic factors of the tragic sense: that is, the use of illness, sorrow, coldness, ugliness and oddity as beauty.
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