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    The Relationship between Opera Literature and Performance Art
    戏曲文学与表演艺术的关系
    Achievements and Inadequacies of Operatic Creation in the New Period
    新时期戏曲文学创作的成就与缺失
    Discussion on the Figures of Ungrateful Men in Chinese Opera Literature
    略论中国戏曲文学中的负心男子形象
    Stylistic Features of Chinese Dramatic Literature
    论中国戏曲文学的文体特征
    Returning to the desk: Concerning conceptual speculations of ancient Chinese drama
    回归案头——关于古代戏曲文学研究的构想
    The Representations of the "Parted Mirror" Motif in the Xi and Qu Dramas of the Song-Ming Periods
    “乐昌分镜”母题在宋明“戏曲”文学演绎初探
    A Further Argumentation of the Literary Phase and Non-Literary Phase in Classical Drama——A Response to Ankuis Criticism
    再论古典戏曲的文学阶段与非文学阶段——答安葵先生
    Necessity and Possibility of Introducing Opera Literature into Modern Literary History
    戏曲文学进入现代文学史写作的必要和可能
    On the Artistic Conception of Classical Traditional Opera Literature
    论古典戏曲文学的意境
    If we take the literature of traditional operas as the soil, the basis, as so called "the librettos, are the foundation of operas", the performance of traditional operas is like the flower flourished inthe soil.
    二者的关系,如果把戏曲文学比作土壤、基础,所谓“剧本,一剧之本”,戏曲演出则是开在此土壤之上的花朵。
    This book is in order to explore and conclude the excellent experience of classical Chinese opera poem from Song Dynasty and Yuan Dynasty, furthermore, promote and develop our national traditional drama, consequently could play a role for reference to the current literary creation of our opera.
    意在从宋元剧诗的典范之作中,发掘和归纳古典剧诗的优秀经验,以进一步促进和发扬我们民族戏剧的优良传统,以期能对当今的戏曲文学创作起到微薄的借鉴作用。
    Chinese literature history always has quite many blanks in Chinese traditional opera literature, therefore, this book expects to arose people's concern to the rich legacy of classical Chinese traditional opera.
    历来中国文学史在戏曲文学方面空白颇多,本文也意在进一步引起人们对古典戏曲丰厚遗产的关注。
    Thirdly, the space of critical literature of opera was greatly widened.
    第三,拓宽了戏曲文学的批评空间。
    Considering the text and stage, the author found various views in poetical character: the traditional opera literary often contains melancholy and poetic as its emotion foundation;
    从文本与舞台两个层面考察戏曲的诗性特征,具有不同的表现形态:在戏曲文学中,它的情感基调是忧郁的、富有诗意的;
    This drama was once flourishing during the Late Qing Dynasty and the Republic of China, however, now it nearly disappears. Stage play is becoming the main stream of dramas in China, meanwhile Literature fields neglects the study of position, features, literature value and transformation of local dramas including Liuzi under the modern and contemporary literature context.
    受话剧作为中国现代主流戏剧样式的眼光遮蔽,近现代中国的地方戏曲文学,大都没有真正进入中国近现代文学研究的学术视野,学界对包括柳子戏在内的近、现代文化语境下地方戏曲的历史流布、剧目特色、文学价值与现代转型的研究十分薄弱。
    Abstract Modern and contemporary Chinese Opera gives great prominence to the art of performance, thus alienating literature and literary masters from operatic creation and lowering the literary quality of opera.
    近现代戏曲突出表演技艺,疏离现代品格,文学巨匠与戏曲疏离,戏曲的文学品位滑落,文坛地位边缘化。
    For the Yuan Dynasty, our special attention should be given to A General Study of Literature:Investigations on Confucian Classics by MA Duan-lin and A Catalogue of Operas by ZHONG Si-cheng.
    元代最值得注意的是马端临别具特点的《文献通考·经籍考》之集部和钟嗣成的戏曲文学专目《录鬼簿》 ,《录鬼簿》的出现对明清戏曲文学目录的繁荣产生了直接影响。
 

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