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文学本质论
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  literary essence
     Russian Formalism: Its Literary Essence and Aesthetic Foundation
     俄国形式主义的文学本质论及其美学基础
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     Analysis of the "Aesthetic ideology" Literary Essence
     “审美意识形态”文学本质论浅析
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     According to its views on literary essence,this paper also analyses the relationship between literature and scienc e.
     此外,本文根据该流派的文学本质论就文学与科学的关系进行了分析。
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  “文学本质论”译为未确定词的双语例句
     A Study of Qian Qian-yi's Theory of Literature Essence
     钱谦益的文学本质论
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     Philosophical Ontology determines Theories of Literary Nature ——a general view on relationship between ancient Western philosophies and literay theories
     哲学本体论决定文学本质论——西方古代哲学与文论关系概说
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     From the theories of the nature of literature and the reformation in literary creations, the third part probes into the development of his aesthetic theories on Gong-Ti poetry.
     第三部分在文学本质论和文学新变论两个层面上,论证其审美理想的纵向发展。
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     Such objective beginning of Western philosophy and literature is necessary and reasonable.
     他们的哲学本体论是客体性的 ,其文学本质论因而也是客体性的。
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  相似匹配句对
     On the nature of literary inspiration
     文学灵感本质论
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     On the Essence of Literary Translation
     文学翻译本质论
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     Fifth, Literature.
     (五)文学
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     Beijing Literature
     京味文学
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     On the Essence of Socialism
     社会主义本质论
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Plato'sphilosophica ontolgy determines his theory of literay nature,so does Aristotle's.Their philosophical ontologies are objective,therefore so are their theories of literary nature.Such objective beginning of Western philosophy and literature is necessary and reasonable.Plato and Aristotles' theories of literay creation and ceiticism are decided by their theories of literay nature,and radically by their philosophical ontologies.

柏拉图和亚里士多德各自不同的哲学本体论决定了他们各自不同的文学本质论。他们的哲学本体论是客体性的 ,其文学本质论因而也是客体性的。西方哲学和文论的这种客体性起点有其必然性和合理性。柏拉图和亚里士多德的文学创作论和批评论都从属于各自的文学本质论 ,并最终从属于各自的哲学本体论

The theory of literary nature is the subject of literary research and the main content of literary theory. The definition of Chinese and Western thinkers and writers of literary theory mainly includes four categories: the theory of the world center, the theory of writers center, the theory of texts center and the theory of readers center. In each category there are many different theories, but each theory just defines a certain viewpoint from a certain angle of view. The omnibearing definition of literary nature...

The theory of literary nature is the subject of literary research and the main content of literary theory. The definition of Chinese and Western thinkers and writers of literary theory mainly includes four categories: the theory of the world center, the theory of writers center, the theory of texts center and the theory of readers center. In each category there are many different theories, but each theory just defines a certain viewpoint from a certain angle of view. The omnibearing definition of literary nature should follow open and developmental principles, entirely considering the literature including the world, writers, texts and readers.

文学本质论是文学研究的主题和文学理论的主要内容。中西思想家、文论家关于文学本质的界定主要有世界中心论、作家中心论、文本中心论和读者中心论四大类,每一类中又有许多不同学说,但只是从某一视角就某一视点进行了界定。文学本质的全方位界定应该遵循开放性和发展性原则,对包括世界、作家、文本和读者在内的文学进行整体观照

To quote Victor Shklovsky, one of the representatives of the Russian formalistic literary criticism, "literature is a pure form rather than a substance. It is the ratio between materials rather than the material itself ." Compa red with the other two propositions on literature, "literature as a technique" (also offered by Victor Shklovsky) and literature being defined by "literariness" (proposed by Roman Jakobson, another representative of Russian Formalism), lite rature as a pure form is a more adequate...

To quote Victor Shklovsky, one of the representatives of the Russian formalistic literary criticism, "literature is a pure form rather than a substance. It is the ratio between materials rather than the material itself ." Compa red with the other two propositions on literature, "literature as a technique" (also offered by Victor Shklovsky) and literature being defined by "literariness" (proposed by Roman Jakobson, another representative of Russian Formalism), lite rature as a pure form is a more adequate and representative summary of the Russian formalistic views on the nature of literature. Kant's aesthetics has provided a basis for this view in two ways. For one thing, by separating beauty from truth and good, Kant gave independence to beauty, which later provided strength for aestheticism and many formalistic literary theories. In fact, the Russian formalistic view on the nature of literature is a theory about the autonomous and self-sufficient literature. For another, by arguing "beauty as a matter of fact should only concern form", Kant gave a straightforward support to the Russian formalistic idea of literature being a pure form. Some Russian formalists actually confessed their being influenced by the Kantian aesthetic formalism. Nevertheless, Kantian aesthetics has rich connotations. It is both formalistic and subjective. As a result, beauty is both expressed through the form and by the subject. The Russian formalistic theory on literary essence, on the other hand, only followed the formalistic component of Kantian aesthetics. As time grew, this theory highlighted this component and stripped itself of the subjective implications. In addition, Russian formalists also designed an aesthetic foundation for their theory on the formalistic essence. This is known as the "anomalous" perception, which does not aim to know the object. Perceiving is the goal of perception, which is therefore a form. As a technique and form, literature attempts to invoke this anomalous aesthetic perception. This theory differs from Kantian aesthetic in that Kant defined beauty as a transcendental experience of a rationalistic nature, although he also said beauty does not exist without perceptual ex periences. In contrast, Russian formalists regarded beauty as an experiential entity having nothing to do with reason, nor with activities like emotion and imagination. They looked at beauty from the perspective of perceptual experience and believed that beauty was determined by that experience. As a result, Russian Formalism is to some extend an experientialist aesthetics. However, it is still distinguished from real experientialist aesthetics. The latter gives great attenti on to both physical perceptual experiences of the subject and his mental perceptual experiences like imaginations and emotions, whereas Russian Formalism eliminates both reasoning and the mental ingredients of aesthetic perceptions. Its adherents argued that "emotions are other than the form", only acknowledging the ex istence of physical responses and pleasures or pains to stimuli. In their eyes, aesthetic perception is only a pure form devoid of content. Beauty is therefore a pure form.aesthetics .However,itisstilldis

俄国形式主义的“纯形式”文学本质论基于康德美学。但这种“纯形式”概念是依据感觉(“陌生化”感觉 )经验来确定的 ,因而剥离了康德美学“形式”概念中的主体性意蕴。这说明这种文学本质论的美学基础中还有经验主义美学的成分

 
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