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opera theory
    Summary of Fifty Years' Research on Li Yu's Opera Theory
    李渔戏曲理论研究50年综述
    The Advancement and the Long - Lasting Influence in the Classical Opera Theory by Shenjin
    论沈璟戏曲理论的历史进步性及深远影响
    A Study On The Opera Theory Of Wang Shi-zhen's Quzao
    王世贞《曲藻》戏曲理论初探
    Research on Li Yu's opera theory and audience orientation in opera writing
    李渔的戏曲理论与创作中的观众学初探
    For opera theory of the Ming dynasty, these appeared a theoretical inclination to gradually synthesize.
    明代戏曲“本色”说的两次论争,均体现出明代戏曲理论趋于综合的理论倾向。
    Moreover, the theory that was extremely systemized also concludes all the subjects with meaning of philosophy and aesthetics in the domain of classical opera theory, and deeply influential in producing and criticizing of the Qing dynasty.
    高度系统化的明代戏曲“本色”说几乎涵盖了古典戏曲理论中所有富含哲学意味和美学意义的命题,并对清代戏曲创作与戏曲理论批评产生了极为深远的影响。
    Yet what is focused most is his traditional opera theory and his achievements in literary creation, very little attention is paid to his creation of novels, especially his theory of novel creation.
    但探讨其戏曲理论与创作成就的较多,论及其小说创作特别是小说理论的较少。
    Therefore ,in this thesis the author tries to probe into Li Yu's opera theory and its meaning for novel creation, and put forward the author's theory of Silent drama, as well as its value in the Chinese history of novel theory, from the viewpoint of the interaction between the Chinese ancient dramas and novels.
    本文试图从中国古代戏曲和小说互相影响、互相渗透发展的角度,从李渔致力于打通戏曲和小说着眼,探究李渔戏曲理论对其小说创作的意义,进而确立“无声戏”理论及其在中国小说理论史上的价值。
    Base on the opera textmainly, combining opera theory and unofficial history note, the paper tries to makeomni-directional close examination understand to the development among MingLegend of Jing character, from two respects that drama of literature and performanceof stage.
    主要立足文本,结合戏曲理论和野史笔记,从文学剧本和舞台表演两个方面对净脚在明传奇中的发展成熟作全方位的审视解读。
    as a kind of art study, opera ousia study is a learning which explores opera ousia from the perspective of art, culture, aesthetics, philosophy, and anthropology, uses the methods of phenomenology, hermeneutics, structuralics, culturepoetics and unifying history and logic, and aims at deepening the self- consciousness of opera, advancing opera theory construction and enlightening the opera art practice.
    其目的主要在于深化戏曲自我意识、推进戏曲理论建设、启示戏曲艺术实践; 进行此项研究,宜灵活地运用现象学方法、解释学方法、结构学方法、文化诗学方法和历史与逻辑相统一的方法,以便达到思维、语言与对象(戏曲本体)的一致。
    The Fifth work of Genius– Shi Naian’s Shui Huzhuan( Water Margin) and The Sixth Work of Genius– Western Chamber that were commented by him play an extremely important role in the history of ancient fictions theory, traditional opera theory and narrative theory, and has a far-reaching influence on the descendents.
    由他评点的《第五才子书施耐庵水浒传》及《第六才子书西厢记》在古代小说、戏曲理论史及叙事理论史上都占有极其重要的地位,并对后世产生了深远的影响。
    His narration are quite plentiful of all his life , involve poem, literature, novel, opera, theory of opera and novel.
    他一生著作颇丰,涉及诗、文、小说、戏曲、戏曲理论、小说理论等方面。
    Under the cultural background of the late feudal society, the opera theory's composing space became narrower and narrower, restoration and integration were just the mainstream.
    在封建社会晚期这一大文化背景之下 ,戏曲理论创新的空间日益狭小 ,复归与集成正是主流所在。
    His idea enriched and improved Chinese opera theory.
    作为其戏曲理论的核心 ,丰富完善了中国古代戏曲理论体系 ;
    No matter dead or alive, Li Yu's opera theory has always been concerned and researched.
    李渔的戏曲理论一直为人所关注、所研究。
    Li Yu of early Qing dynasty occupies an important position in the history of traditional Chinese opera theory.
    清初的李渔在中国古代戏曲理论史上具有重要地位,其戏曲理论的创新性之一就是不乏哲学思辨。
 

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