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西方文化思潮
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  western cultural thoughts
     The Main Characteristics of Western Cultural Thoughts in the 20th Century
     20世纪西方文化思潮的主要特点
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  “西方文化思潮”译为未确定词的双语例句
     Both in the Chinese history and Korean history, there were severe conflicts in the 1920s and 1930s between imperialism and nationalism, revolution and counterrevolution, the Western culture and traditional culture, enlightenment and feudalism.
     在中国与朝鲜的历史上,二十世纪二、三十年代帝国主义与民族主义、革命与反革命、西方文化思潮与传统文化、启蒙与封建思想等产生了激烈冲突,因此具有许多共同的社会问题。
短句来源
     In the course of Chinization,the ideological trend of western culture actually includes two stages,that is,the westernization of Chinese culture and the Chinization of western culture.
     西方文化思潮的中国化过程其实包括中国的西方化和西方文化的中国化两个阶段。
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     Striking her root in Chinese culture, Hong Ying accepts the western cultural current open-mindedly and walks at the edge between tradition and modernity.
     她植根于中国的文化土壤,更以开放式的思维接纳了西方文化思潮,行走在传统与现代的边缘。
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     The paper reviews the debate about modernism and postmodernism abroad, and the criticism on postmodernism by western Marxists.
     本文回顾了国外关于“现代与后现代”的论争以及西方马克思主义学者对后现代主义的批评,审视了我国比较文学研究者对后现代西方文化思潮影响做出的不同反应。
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     The first chapter aims at analyzing the reasons of why the western culture thoughts of the twentieth century invited in such a huge impact upon China's literature world of 1980s, as well as presenting an overall recall to western absurd thoughts.
     第一章,旨在分析荒诞作为20世纪西方文化思潮在80年代中国文坛引起巨大反响的原因,并对西方荒诞思潮作综合性的回顾。
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     The Symbol of Depression:The Creative Concordence of Ideological Trends in Western Cultures
     《苦闷的象征》:西方文化思潮的创造性整合
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     An Analysis on the Trends of Multculturalism in Western Psychology in Western Psychology
     西方多元文化心理学思潮评析
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     The Main Characteristics of Western Cultural Thoughts in the 20th Century
     20世纪西方文化思潮的主要特点
短句来源
     Xu Xu's Acceptance of Trends of Thought in Western Cultureduring his Early Years
     徐訏早期对西方文化思潮的接受
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     The Import of Western Logic and Cultural Trends of the Late Ming Dynasty
     西方逻辑的输入与明末文化思潮
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In the course of Chinization,the ideological trend of western culture actually includes two stages,that is,the westernization of Chinese culture and the Chinization of western culture.In the conflict and blending of eastern and western culture in todays China,the latter is,of course,the focal point.The essence of the so called “Chinization” is,to a great extent,pragmatization.Therefore,it is said that China today is in the cultural pattern that ...

In the course of Chinization,the ideological trend of western culture actually includes two stages,that is,the westernization of Chinese culture and the Chinization of western culture.In the conflict and blending of eastern and western culture in todays China,the latter is,of course,the focal point.The essence of the so called “Chinization” is,to a great extent,pragmatization.Therefore,it is said that China today is in the cultural pattern that the pragmatic target is transforming the ideological trend of the West.In such an atmosphere,all the ideological structures have the same pragmatic feature.Especially in literature,the strong pragmatic color is reflected in the introduction to the ideological trend of western culture and the standard of selection,in the motion of writers literary creation,in the writers anticipation of effects accepted by readers,or in the deep locus of the evolution of literary conception.In the final analysis,all this is shown in the acknowledgement and pursuit of the structure and model which are used universally in literary creation.In modern China,it is a model of fabled trend.

西方文化思潮的中国化过程其实包括中国的西方化和西方文化的中国化两个阶段。在中国现代东西文化冲突交融之中,其重点当然在后者。而所谓“中国化”的实质在很大程度上乃是一种实用主义化。所以,可以说整个中国现代都处于用实用目标改造西方思潮的文化格局之中。在这种大的氛围之下,一切意识形态建构都难免带有实用的特点。特别是文学,无论是西方文学思潮介绍和选择的标准,还是作家切入文学创作的动机;无论是作家主体对读者接受效应的期待,还是文学观念流变的深层轨迹,都带有浓重的实用主义色彩。而这一切,归根结底则表现于对文学创作的普遍实用化结构模式的认同和追求之中,在现代中国,它表现为一种寓言化。

The content of The Symbol of Depression is greatly influenced by western cultures. It draws from psychoanalysis “impulse-suppression-displacement” to frame its theory, but at the same time reconstructs it. First, “sexual impulse” is replaced by “vitality” in Bergson's philosophy, giving vitality the contents of reality and creativeness. It makes a distinction with Bergson's theory and connects “vitality” with Croce's “creativeness”. Second, “vitality” replaces “the Id” -suppression, “outside restraint” replaces...

The content of The Symbol of Depression is greatly influenced by western cultures. It draws from psychoanalysis “impulse-suppression-displacement” to frame its theory, but at the same time reconstructs it. First, “sexual impulse” is replaced by “vitality” in Bergson's philosophy, giving vitality the contents of reality and creativeness. It makes a distinction with Bergson's theory and connects “vitality” with Croce's “creativeness”. Second, “vitality” replaces “the Id” -suppression, “outside restraint” replaces “superego”-the force of suppression, developing “sexual depression” into “worldly sufferings”, and “sexual delight” in literary activities becoming “joyfulness of free creation”. Third,“symbol” replaces “dressing up”--way of displacement, and Lipp's “theory of transference” becomes the guarantee of gaining the relaxation of the mind. It views appreciation as a kind of literary creation, thus realizing the creative concordence of ideological trends in western cultures.

《苦闷的象征》深受西方文化思潮的影响 ,它吸收精神分析心理学中“冲动———压抑———转化”说的理论框架 ,但对其具体内容加以改造 :(一 )用柏格森哲学中的“生命力”代替其冲动之根源———“性本能” ,并赋予“生命力”现实性、创造性内涵 ;既与柏格森划清了界限 ,又把“生命力”与克罗齐的“创造性”联系起来。 (二 )用“生命力”代替被压抑之物———“本我” ,用“社会外界约束”代替压抑之力———“超我” ,把偏狭的“性苦闷”拓展为深广的“人间苦” ,并借鉴康德、席勒的学说 ,使其中的文艺活动获得“性宣泄的快感”变成“自由创造的欢喜”。 (三 )用“象征”代替其转化方式———“改装打扮” ,又借立普斯的“移情说”作为获得自由心境的保障 ,并把创造的欢喜扩延到鉴赏领域 ,认为鉴赏是一种创造性活动 ,从而实现了对西方文化思潮的创造性整合。

Analyses the transition of western fashion trends from Modernism to Postmodernism,which influenced the evolution of fashion trends of China since 1960's.It can be used as a reference to the development of Chinese fashion.

分析了西方文化思潮从“现代主义”向“后现代主义”的过渡对 2 0世纪 6 0年代到 80年代西方服装潮流的变迁的影响 ,反思中国 6 0年代以来服装潮流的演变 ,为中国服装的发展提供借鉴。

 
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