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  poetic feature
A second interesting poetic feature of this passage is that virtually every verse is a couplet.
      
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The paper proceeds from four aspects: screen-poetization, character portrayal, revelation of author's emotion, and play's rhythm, which bring to focus the distinction in artistic styles between Bai Hua and Yi Nan, a twin pair on China's literary arena. Both of them pursue the ideal of poetizing the screen, but following different ways.Bai Hua tends to depict life as ardently poetic; whereas Yi Nan excels at digging into life's essence. Bai Hua's characteristic images are magnificent and sublime, Yi Nan's solemn...

The paper proceeds from four aspects: screen-poetization, character portrayal, revelation of author's emotion, and play's rhythm, which bring to focus the distinction in artistic styles between Bai Hua and Yi Nan, a twin pair on China's literary arena. Both of them pursue the ideal of poetizing the screen, but following different ways.Bai Hua tends to depict life as ardently poetic; whereas Yi Nan excels at digging into life's essence. Bai Hua's characteristic images are magnificent and sublime, Yi Nan's solemn and profound. From Bai Hua erupt the turbulent torrents of fiery passions, with not a single trace of reserve. However, from Yi Nan. we see an elegant objective picture, behind which flow silent deep feelings.Bai Hua's buoyant tempo suggests a powerful mountain eagle soaring into the blue. Yi Nan's is a meandering crook reminiscent of sea-gulls circling elegantly around.The paper went deep into various fields, including motif, technique, as well as authors' personal experiences, aiming at a convincing explanation of their artistic difference.

文章从电影诗化、人物形象塑造、作家思想感情的流露及剧作节奏等几个方面,论述了我国文坛上一对孪生兄弟白桦叶楠在电影创作上艺术风格的不同。作者认为,白桦叶楠都追求电影诗化,但表现形式不同,白桦往往赋予生活以浓烈的诗意,叶楠则善于挖掘并表现生活的底蕴,白桦笔下的人物形象雄奇壮丽,叶楠笔下的人物深沉凝重;白桦的作品,是激昂慷慨之情溢于言表,一泻无余,唯恐言之未尽,叶楠是蕴含深情于客观描绘之中,不动声色,惜墨如金,白桦的剧作节奏明朗轻快,像山鹰扇动坚强有力的翅膀搏击长空,叶楠的剧作节奏低迥委婉,有一种象海鸥飞行的轨迹。文章详细地分析了白桦叶楠创作风格的不同,并从作家的创作思想、写作方法及个人经历等诸多方面探讨了这种不同的原因。

This treatise expounds the artistic characteristics of Mao Zedong's poems. As the form of a poem can' t be separated from its content, it can be viewed as an academic treat- ise in which the author describes the artistic appreciation of Mao Zedong' s poems from a uniqle, that of a great poet. The author generalizes the artistic features of Mao Zedong's po- ems and classifies them into three aspects: poetic presentation of politics, diversity of art styles and condensation of language.

本文是谈毛泽东诗词艺术特色的论文。但形式离不开内容,故而可以看作是从一个独特的角度——伟大诗人的角度,艺术地领略毛泽东思想的学术论文。作者把毛泽东诗词的艺术特色归纳为三个方面:一、政治诗化;二、艺术多元化;三、语言浓缩化。

From such sides as Poem idea, Language form and means of expression, third generation poems rebel against contemporary new poems which represents itself by "obscure" poems, at same time it is rebuilding own model style. In general,the third generation poems have shown a non-poem tendancy. The paper analyses change of its idea of appreciation of beauty from standpoint of anti-poem, Pan-poem and life experience ; grasps its exploring language of contemporary poem, based on oral (spoken) language, pre-culture lauguage...

From such sides as Poem idea, Language form and means of expression, third generation poems rebel against contemporary new poems which represents itself by "obscure" poems, at same time it is rebuilding own model style. In general,the third generation poems have shown a non-poem tendancy. The paper analyses change of its idea of appreciation of beauty from standpoint of anti-poem, Pan-poem and life experience ; grasps its exploring language of contemporary poem, based on oral (spoken) language, pre-culture lauguage and termed ancient auguage ; also studies its newly applying means of expression of poem from standpoint of satire characteristic and changing form. According to above analysis, the author comes to the conclusion that the non-poem is a way to create a new kind of style of poem, is a law of development of poem too.

第三代诗在诗歌观念、语言形式和表现手法等方面对以朦胧诗为代表的现代新诗进行反叛并重建了一套自己的诗歌范式,在整体上表现出一种非诗化倾向。本文从反诗、泛诗、生命体验的角度来分析其诗歌审美现念的变化,从口语、前文化语言、返古语言的角度把握其对现代诗歌语言的自觉探索,从反讽、变形的角度研究它对诗歌表现手法的革新运用;“非诗”是诗歌创新的一种手段,也是诗歌发展演变的一条艺术规律。

 
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