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   法国美学 的翻译结果: 查询用时:0.196秒
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法国美学
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  french aesthetic
    The Content Shows the Form (Part One) - Origin of modern European and French aesthetic interest
    内容"述"形式(上篇)——现代欧洲暨法国美学情趣之源流
短句来源
    The Content Shows the Form (Part Two) ——Origin of modern European and French aesthetic interest
    内容“述”形式(下篇)——现代欧洲暨法国美学情趣之源流
短句来源
    Change of modern European and French aesthetic interest in music, poetry, painting, drama, novels and movies, i. e. , the so-called trend of aestheticism, is the extension of subtle spirits of the Enlightenment.
    现代欧洲暨法国美学情趣在音乐、诗、绘画、戏剧、小说、电影等方面的流变,即所谓唯美主义倾向,是启蒙时代微妙精神的延伸。
短句来源
    Change of modern European and French aesthetic interest in music, poetry, painting, drama, novels and movies, i.e., the so-called trend of aestheticism, is the extension of subtle spirits of the Enlightenment.
    /现代欧洲暨法国美学情趣在音乐、诗、绘画、戏剧、小说、电影等方面的流变,即所谓唯美主义倾向,是启蒙时代微妙精神的延伸。
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Change of modern European and French aesthetic interest in music, poetry, painting, drama, novels and movies, i. e. , the so-called trend of aestheticism, is the extension of subtle spirits of the Enlightenment. Modern European art has abandoned the traditional theory of the relationship between art forms and content by Plato-Aristotle; in one hand, it abandoned the form as a concept and took physical materials necessary for artistic activities as the form and object of artistic appreciation; in the other hand,...

Change of modern European and French aesthetic interest in music, poetry, painting, drama, novels and movies, i. e. , the so-called trend of aestheticism, is the extension of subtle spirits of the Enlightenment. Modern European art has abandoned the traditional theory of the relationship between art forms and content by Plato-Aristotle; in one hand, it abandoned the form as a concept and took physical materials necessary for artistic activities as the form and object of artistic appreciation; in the other hand, it abandoned the deep-rooted bias of western art, i. e. , the so-called artistic physical means are just models for expressing feelings, ideas and the outside world. The various artistic schools of modern West abandon simultaneously the pursuit of metaphysics in classic art and hence regard the so-called "content" in artistic activities as that of "forms" or even break the boundary between content and form.

现代欧洲暨法国美学情趣在音乐、诗、绘画、戏剧、小说、电影等方面的流变,即所谓唯美主义倾向,是启蒙时代微妙精神的延伸。现代欧洲艺术放弃了柏拉图-亚里士多德关于艺术形式与内容关系的传统理论:一方面放弃了作为理念的形式,而把艺术活动必需的物质材料本身当作形式和艺术欣赏的对象;另一方面,也放弃了西方艺术传统根深蒂固的偏见,即所谓艺术的不同物质手段只是为了表达或表现感情、观念、外部世界的模特。现代西方不同艺术门类不约而同地放弃了古典艺术中的形而上学追求,从而把艺术活动中的所谓"内容"只作为一种"形式"化的活动,甚至取消了内容与形式的界限。

Change of modern European and French aesthetic interest in music, poetry, painting, drama, novels and movies, i.e., the so-called trend of aestheticism, is the extension of subtle spirits of the Enlightenment. Modern European art has abandoned the traditional theory of the relationship between art forms and content by Plato-Aristotle: in one hand, it abandoned the form as a concept and took physical materials necessary for artistic activities as the form and object of artistic appreciation; in the other hand,...

Change of modern European and French aesthetic interest in music, poetry, painting, drama, novels and movies, i.e., the so-called trend of aestheticism, is the extension of subtle spirits of the Enlightenment. Modern European art has abandoned the traditional theory of the relationship between art forms and content by Plato-Aristotle: in one hand, it abandoned the form as a concept and took physical materials necessary for artistic activities as the form and object of artistic appreciation; in the other hand, it abandoned the deep-rooted bias of western art, i.e., the so-called artistic physical means are just models for expressing feelings, ideas and the outside world. The various artistic schools of modern West abandoned simultaneously the pursuit of metaphysics in classic art and hence regard the so-called “content” in artistic activities as that of "forms" or even break the boundary between content and form.

/现代欧洲暨法国美学情趣在音乐、诗、绘画、戏剧、小说、电影等方面的流变,即所谓唯美主义倾向,是启蒙时代微妙精神的延伸。现代欧洲艺术放弃了柏拉图亚里士多德关于艺术形式与内容关系的传统理论:一方面放弃了作为理念的形式,而把艺术活动必需的物质材料本身当作艺术和艺术欣赏的对象;另一方面,也放弃了西方艺术传统根深蒂固的偏见,即所谓艺术的不同物质手段只是为了表达或表现感情、观念、外部世界的模特。现代西方不同艺术门类不约而同地放弃了古典艺术中的形而上学追求,从而把艺术活动中的所谓“内容”只作为一种“形式”化的活动,甚至取消了内容与形式的界限。

 
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