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诗话
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  poetry talks
    A Brief Discussion of the Study on the Song Dynasty's Poetry Talks since in the 20th Century
    20世纪以来宋代诗话研究述略
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    The Connections between Taochan Poetry Talks and Weilu Poetry Talks
    《逃禅诗话》与《围炉诗话》之关系
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    So Ko-jong's Poetry Criticism in His Collection “Oriental Poetry Talks
    从《东人诗话》看徐居正的诗歌批评观
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    Tracing Upstream and Making Inquiries——My Comment on Merits and Demerits of the Sweeping View to Huang Weiliang's Poetry Talks and Academic Papers
    溯流与问津——黄维诗话、文论“纵横”得失之我见
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    On Wang Chuan-shan's Jiangzhai Poetry Talks and the Spirit of Personality
    王船山的《姜斋诗话》与人格精神
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  notes on poetry
    Yuyang's Notes on Poetry and Wang Shizhen's "theory of romantic charm
    王士祯的《渔洋诗话》及其“神韵说”
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    On Huang Sheng's Poetics Idea from Shizhu and Review of Zaijiuyuan Notes on Poetry
    从《诗麈》、《载酒园诗话评》看黄生诗学思想
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    The second part consists of“records of Poetry Talks”(Volume 2﹑3), contained the original story of Song poetry, a total of 28 notes on poetry talks;
    第二部分为“诗话录”(卷二、卷三),载宋人诗歌本事,共辑录28条诗话;
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    This paper displays the feature from Defence of Poetry in Canglang Notes on poetry and discusses its popularity and variety of expressions through an analysis of some other literary theoretical manifestations.
    本文从《沧浪诗话·诗辨》这个切入点来展现这一特征 ,并通过对其它几种文论表现形态的简要分析来论述这种特征的普遍性和在表现方式上的多样性
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    All these arguments push forward the classic theory of poetry and embody the theoretical features and values of notes on poetry in Ming Dynasty.
    通过对这些问题的讨论和论争,推动了古典诗学理论的发展,也体现了明代诗话的理论价值和理论特色。
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  comment on poetry
    Cihua and Shihua are the articles which comment on poetry and Ci.
    诗话、词话是评论诗和词的文章,在表现方法上,主要是叙述与议论。
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  “诗话”译为未确定词的双语例句
    Chinese Shihua and Indian Sanskrit Poetics
    中国诗话与印度梵语诗学
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    South Song poetry: an exploration
    南宋诗话探索
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    section two , Suiyuan Shihua and female culture ,Suiyuan Shihua and intellecturals' life .
    二、重点论述《随园诗话》与女性文化:三、重点论述《随园诗话》与文人生活。
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    A batch of shihua(诗话),shige (诗格) ,shifa(诗法)were written in the Yuan Dynasty.
    元代出现了一批诗话、诗格、诗法类著作,这类著作具有一定的文学批评理论价值,因而也引起了研究者一定程度的关注。
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    The scanning of China ancient poetics on poetry's inner spirit has reflected the psychology and inclination ofparticular creation style of the Chinese nation, and has been a ripe and perfect mentality of poetry theory.
    “诗神”是古代诗学理论所追寻的最高层次的创作艺术规律。 中国古代诗话对诗神的审视,充分体现出中华民族特有的创作心理与倾向,是一种成熟而完美的诗歌理论心态。
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  notes on poetry
SOME NOTES ON POETRY AND LANGUAGE IN THE WORKS OF GASTON BACHELARD
      


After examining the different editions of Canglang Yinjuan and Canglang Poetry Talks , the author argues that Yan Yu had not written the poetry talks entitled Canglang Poetry Talks, the five parts of Canglang Poetry Talks being originally irrelevant essays written by Yan Yu, and not compiled by him. Huang Qinglao of the Yuan Dynasty collected and compiled the five essays, and Hu Qiong of the Ming Dynasty entitled the five essays Canglang Poetry Talks and published it. Because the five essays were...

After examining the different editions of Canglang Yinjuan and Canglang Poetry Talks , the author argues that Yan Yu had not written the poetry talks entitled Canglang Poetry Talks, the five parts of Canglang Poetry Talks being originally irrelevant essays written by Yan Yu, and not compiled by him. Huang Qinglao of the Yuan Dynasty collected and compiled the five essays, and Hu Qiong of the Ming Dynasty entitled the five essays Canglang Poetry Talks and published it. Because the five essays were not originally a book of poetry talks, the position of Yan Yu in the Poetry Talks history should be reconsidered.

《沧浪诗话》无论是在中国文学批评史上还是在中国美学史上都具有极高的地位,其所提出的理论对于后来时代的诗学理论及诗歌创作都产生了长期而深远的影响。不仅如此,这部著作还被认为是诗话从以资闲谈的笔记体著作走向具有完整理论体系的严肃理论著作的标志,被视为宋代诗话的集大成之作,是诗话发展史的一个高峰。《沧浪诗话》是严羽生前亲自编定的一部完整的诗话著作,这乃是学术界的定论,从来没有引起过人们的怀疑。但笔者经考证认为,《沧浪诗话》并非严羽所编。《诗辩》等五篇原本并不是一部诗话,而只是一些单篇的著作,这些著作由严羽的再传弟子元人黄清老汇集在一起,到明代正德年间才被胡冠以《沧浪诗话》之名,而其定名为《沧浪诗话》则是在明末。由于《诗辩》等五篇原本并不是一部诗话著作,所以学术界关于《沧浪诗话》在诗话发展史上地位的论断乃至整个诗话发展史就有重新认识之必要。由于通行本《沧浪诗话》的文本为元人所辑,故其文本价值就要重新认识,由文本差异所引出的对于该书的理解及...

《沧浪诗话》无论是在中国文学批评史上还是在中国美学史上都具有极高的地位,其所提出的理论对于后来时代的诗学理论及诗歌创作都产生了长期而深远的影响。不仅如此,这部著作还被认为是诗话从以资闲谈的笔记体著作走向具有完整理论体系的严肃理论著作的标志,被视为宋代诗话的集大成之作,是诗话发展史的一个高峰。《沧浪诗话》是严羽生前亲自编定的一部完整的诗话著作,这乃是学术界的定论,从来没有引起过人们的怀疑。但笔者经考证认为,《沧浪诗话》并非严羽所编。《诗辩》等五篇原本并不是一部诗话,而只是一些单篇的著作,这些著作由严羽的再传弟子元人黄清老汇集在一起,到明代正德年间才被胡冠以《沧浪诗话》之名,而其定名为《沧浪诗话》则是在明末。由于《诗辩》等五篇原本并不是一部诗话著作,所以学术界关于《沧浪诗话》在诗话发展史上地位的论断乃至整个诗话发展史就有重新认识之必要。由于通行本《沧浪诗话》的文本为元人所辑,故其文本价值就要重新认识,由文本差异所引出的对于该书的理解及评价的歧异也有重新认识之必要

The period between Emperors Qianlong and Jiajing saw a turn in the course of the poetry development. The sectarian contention in the circle of poets about either to carry forward the poetic tradition of the Tang dynasty or that of the Song had eventually come to a close. In time the practice of writing poems as one chose to came into being. The centre of poetic creation was transferring from senior officals down to junior officals and civilian poets, thus breaking the monoply of poetry writing by senior officials...

The period between Emperors Qianlong and Jiajing saw a turn in the course of the poetry development. The sectarian contention in the circle of poets about either to carry forward the poetic tradition of the Tang dynasty or that of the Song had eventually come to a close. In time the practice of writing poems as one chose to came into being. The centre of poetic creation was transferring from senior officals down to junior officals and civilian poets, thus breaking the monoply of poetry writing by senior officials that had lasted throughout the early and middle periods of the Qing dynasty. FASHISHAN, one of the important poets of the time, recorded in his Wumen Poetry Talks some of the changes in the world of poetry which supply us with an important source for the study of the trend of poetry development. of that period. [

乾嘉之际为清代诗歌发展的转折时期。祖唐祧宋的诗界门户之争终于告一段落 ,各行其是的自由诗风日渐形成。诗歌创作的中心由台阁而向下转移 ,打破了绵延清代中前期的诗歌台阁化局面。作为当时重要诗人之一的法式善在其《梧门诗话》中记录了当时诗坛变化的一些迹象 ,为我们提供了研究这一时期诗歌发展趋势的重要资料

An in - depth analysis of the relationship between the texts of Wen Xin Diao Long and Huainan Zi shows some hints that have never been heeded by the academia:1. The logical structure of Wen Xin Diao Long is similar to that of Huainan Zi. Wen Xin Diao Long starts with Original Dao and the Dao of Nature penetrates the whole book. Such a structure comes from Huainan Zi that has the Teaching of Original Dao as its hinge..2. Huainan Zi emphasizes spirit and Liu Xie follows it. There are many evidences that the chapter...

An in - depth analysis of the relationship between the texts of Wen Xin Diao Long and Huainan Zi shows some hints that have never been heeded by the academia:1. The logical structure of Wen Xin Diao Long is similar to that of Huainan Zi. Wen Xin Diao Long starts with Original Dao and the Dao of Nature penetrates the whole book. Such a structure comes from Huainan Zi that has the Teaching of Original Dao as its hinge..2. Huainan Zi emphasizes spirit and Liu Xie follows it. There are many evidences that the chapter of Spiritual Activities resembles the statement about spirit in Huainan Zi "The integrative movement of spirit and matter" is the Literal Change of "the integrative movement of spirit and nature".3. The discussions about the Influence of Matter in Huainan Zi are more in - depth and profound.than those in Yue Ji. Wen Xin Diao Long stresses on the Expression of Matter and uses liteary and Poetic language to restate and develop the idea, although the assumptions are similar and comes down in one continuous line.Therefore, it is clear that Huainan Zi had synthesized the Six Classics and the works of scholars of Pre - Qin Dynasty to a certain extent by integrating the thoughts of Confucian ism, Mohism, Taoism, Legalism, Militarism, Yinyang and Huang Lao schools, creating the prerequisite for the further Literal Change of Wen Xin Diao Long.

深入分析《文心雕龙》与《淮南子》之间的文本联系,可以发现至今尚未受到学界重视的如下线索:第一,《文心雕龙》的逻辑结构与《淮南子》相似,它以《原道》发端,以“自然之道”贯穿全书,安源自以《原道训》为枢纽的《淮南子》。第二,《淮南子》重“神”,刘勰继之,《神思》篇中多见《淮南子》涉“神”迹象,“神与物游”是“神与化游”的话语转换。第三,《淮南子》关于“物感”的论述比《乐记》深入、丰富,《文心雕龙》以《物色》为重点,用文学、诗话的语言加以进一步地转述、发挥,一脉相承。据此可知,通过杂糅儒、墨、道、法、兵、阴阳、黄老等思想,《淮南子》已在刘勰之前先行对六经和先秦诸子进行了一定程度的综合,从而为《文心雕龙》进一步的话语转换创造了条件。

 
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