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作者形象
相关语句
  the image of the author
     On the Image of the Author in Pushkin's Novelette The Spade Queen
     从视角结构看《黑桃皇后》的作者形象
短句来源
     The image of the author in literature belongs to the theoretical domain of literary rhetoric, and it has two basic forms of expression. The structural perspectives of the author and the characters is one of them.
     文学作品的作者形象作为文学修辞学的理论范畴有两类基本表现形式,作者和人物的视角结构便是其中之一。
短句来源
     Through a detailed analysis of the structural perspectives──invluding the chronological perspectives,the psychological perspectives, the linguistic perspectives and the evaluation perspectives──in The Spade Queen, it is concluded that the image of the author as the imotu of content and form reflects an organic system of multiple perspectives, manipulates the structure of the work and helps to create a unique rhetoric expression and artistic style.
     通过对《黑桃皇后》视角结构(包括时间视角、心理视角、语言视角和评价视角)的具体分析,可以看出作者形象作为内容和形式的统一体反映着多种视角的完整体系,决定、操纵着整部作品的结构,并创造出作品独特的辞章面目和艺术风格。
短句来源
     The image of the author in literature belongs to the theoretical domain of literary rhetoric.
     作者形象理论属于文学修辞学的范畴。
短句来源
  author ’ s image
     Pushkin’s Contribution to “Periphrasis” from the View of Author’s Image——Take Evgenii Onegin as an Example
     从作者形象看普希金对修辞格“换说”的贡献——以《叶甫盖尼·奥涅金》为例
短句来源
  “作者形象”译为未确定词的双语例句
     Research on the Image of the Author-On the Narrative Design in Primakov Gai Nepalese Aoniejin
     作者形象研究——以《叶甫盖尼·奥涅金》中的叙述结构为例
短句来源
  相似匹配句对
     On the Image of the Author in Pushkin's Novelette The Spade Queen
     从视角结构看《黑桃皇后》的作者形象
短句来源
     The image of the author in literature belongs to the theoretical domain of literary rhetoric.
     作者形象理论属于文学修辞学的范畴。
短句来源
     The Image of Justice
     正义的形象
短句来源
     The authors believed that the classification by J.
     作者认为,J.
     Theory of Knowledge about Literary Image
     形象认识论
短句来源
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The image of the author in literature belongs to the theoretical domain of literary rhetoric, and it has two basic forms of expression. The structural perspectives of the author and the characters is one of them. The structural perspectives refer to the respective points of view and voices of the author and the characters and their interrelations.Through a detailed analysis of the structural perspectives──invluding the chronological perspectives,the psychological perspectives, the linguistic perspectives and...

The image of the author in literature belongs to the theoretical domain of literary rhetoric, and it has two basic forms of expression. The structural perspectives of the author and the characters is one of them. The structural perspectives refer to the respective points of view and voices of the author and the characters and their interrelations.Through a detailed analysis of the structural perspectives──invluding the chronological perspectives,the psychological perspectives, the linguistic perspectives and the evaluation perspectives──in The Spade Queen, it is concluded that the image of the author as the imotu of content and form reflects an organic system of multiple perspectives, manipulates the structure of the work and helps to create a unique rhetoric expression and artistic style.

文学作品的作者形象作为文学修辞学的理论范畴有两类基本表现形式,作者和人物的视角结构便是其中之一。视角结构是指作品中作者和人物各自的视角、各自不同的声音及其相互关系。通过对《黑桃皇后》视角结构(包括时间视角、心理视角、语言视角和评价视角)的具体分析,可以看出作者形象作为内容和形式的统一体反映着多种视角的完整体系,决定、操纵着整部作品的结构,并创造出作品独特的辞章面目和艺术风格。

The reading of poetry is an unusual, agile and complicated movement. During the movement, we review the text of poetry, the image of the author and the explaination of former reviewers, while the reviewing sets restriction on the extension of the meaning. The extension is based on the reviewing, while it has to constantly break up the tie of the reviewing. In some aspects, the contradiction gives the explaination limitless flexibility. Thus, we should regulate the relationship between the reviewing and the extension....

The reading of poetry is an unusual, agile and complicated movement. During the movement, we review the text of poetry, the image of the author and the explaination of former reviewers, while the reviewing sets restriction on the extension of the meaning. The extension is based on the reviewing, while it has to constantly break up the tie of the reviewing. In some aspects, the contradiction gives the explaination limitless flexibility. Thus, we should regulate the relationship between the reviewing and the extension. It is significant for current poetry which is cornered.

诗歌解读是一种异常灵活复杂的活动。在解读中对诗歌文本、作者形象、前人的解读要不断地进行回溯,同时对意义的延展形成一种制约;意义的延展在回溯的基础上进行,又要不断突破回溯的束缚。回溯与延展之间的矛盾使得诗歌解读具有无限的张力而又不至于无度。处理好诗歌解读中回溯与延展的关系,对走入困境的当下诗歌的发展具有重要意义。

This article talks about the special contribution made by Pushkin to “periph-rasis” from the view of the author’s image in Evgenii Onegin. In this poetic novel, on the one hand, Pushkin ridicules romanticism’s over persuit of elegance and delicacy in the use of periphrasis, and on the other hand, he also creates many kinds of periphrasis which show obviously the features and disposition of the characters and reflect the attitude of the author’s image toward the subjects depicted. It is Pushkin’s practical creation...

This article talks about the special contribution made by Pushkin to “periph-rasis” from the view of the author’s image in Evgenii Onegin. In this poetic novel, on the one hand, Pushkin ridicules romanticism’s over persuit of elegance and delicacy in the use of periphrasis, and on the other hand, he also creates many kinds of periphrasis which show obviously the features and disposition of the characters and reflect the attitude of the author’s image toward the subjects depicted. It is Pushkin’s practical creation and theoretical position that have made a fundamental change of periphrasis in the language of Russian. Periphrasis is no longer the label of elegance and delicacy, but a positive figure of speech which emphasizes some feature of the subject,displays its image and enhances the power of expressiveness.

本文从《叶甫盖尼·奥涅金》中的作者形象探讨了普希金对修辞格“换说”(перифраза)所做出的独特贡献,指出,普希金在这部作品中,一方面对浪漫主义文学在换说的使用中一味追求精致优雅的效果进行了讥笑和嘲弄,另一方面,他独创了许多突现人物性格特征、反映出作者对描述对象所持评价态度的换说。正是普希金的创作实践及理论主张使得换说的功能在俄语中发生了根本性的转变:这一辞格不再是精雅格调的标签,而是强调表达对象的某种特征、突现其形象性、增强表现力的积极修辞方式。

 
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