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   戏曲理论批评 的翻译结果: 查询用时:0.013秒
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戏曲理论批评
相关语句
  traditional opera criticism
     the other is of the "aesthetic state (Jingjie or Yijing)". This paper gives an overall analysis of the features and relations of "Wei (taste)" and "Qu (interesting)" theory in Chinese traditional opera criticism, explains the continuous development, and illustrates main concept of Chinese traditional opera aesthetics.
     本文初次从通论角度对中国古代戏曲理论批评中的"味"论及其主要特点,做了一个总体性的论述,旨在分析戏曲理论批评著作中的"味"及"趣"之概念的审美内涵,分析戏曲"趣味"论与其"境界(意境)"论的关系,由此说明中国古代戏曲理论批评家关于戏曲"美感"论的主要观念。
短句来源
     On the Aesthetic Taste of Traditional Opera Criticism of China
     戏曲理论批评之审美“趣味”论
短句来源
  “戏曲理论批评”译为未确定词的双语例句
     The reclaimer of Chinese traditional opera research in 20th century
     20世纪中国古代戏曲研究的拓荒者——黄摩西戏曲理论批评简论
短句来源
     Moreover, the theory that was extremely systemized also concludes all the subjects with meaning of philosophy and aesthetics in the domain of classical opera theory, and deeply influential in producing and criticizing of the Qing dynasty.
     高度系统化的明代戏曲“本色”说几乎涵盖了古典戏曲理论中所有富含哲学意味和美学意义的命题,并对清代戏曲创作与戏曲理论批评产生了极为深远的影响。
短句来源
     However, Ye's annotation is of great literary criticism value and his theory concerning the characters remained outstanding in the criticism of traditional Chinese opera throughout the Ming Dynasty.
     但叶昼的批点富有文学批评价值 ,特别是他的人物论在整个明代戏曲理论批评中比较突出。
短句来源
  相似匹配句对
     THEORY AND CRITICISM
     理论批评
短句来源
     On the Aesthetic Taste of Traditional Opera Criticism of China
     戏曲理论批评之审美“趣味”论
短句来源
     Criticism is a way of applying theory to practice.
     批评理论的实践方式。
短句来源
     Premise of Drama keform:Drama Theory
     戏曲改革理论先行
短句来源
     Xu Fuzuo’s Theory of Traditional Opera
     徐复祚的戏曲理论
短句来源
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  drama theory
Drama theory differs from game theory in that it does not regard actors' preferences and perceived opportunities as fixed, but as capable of being changed by the actors themselves under the pressure of pre-play negotiations.
      
Drama theory recognises that the paradoxes of rationality might be the key to understanding certain sorts of conditions and preference changes.
      
Drama theory does not solve problems through conflict but seeks to resolve while recognising but seeking to avoid conflict.
      
In drama theory the player's objectives may adapt as the scenario unfolds as will their choices and opportunities for creating and influencing change.
      


Li Zuo wu annotated "A Tale of the West Wing",but the existing copies with Li's annotation are all forged. The Rong Yu Tang edition was made by Ye Zhou. However, Ye's annotation is of great literary criticism value and his theory concerning the characters remained outstanding in the criticism of traditional Chinese opera throughout the Ming Dynasty. Ye's annotation exerted great influence toward the end of the Ming Dynasty and was only obscured later by Jin Sheng tan.

李卓吾批点过《西厢记》 ,但现存的李批《西厢》都是伪本。容与堂本乃叶昼所伪托。但叶昼的批点富有文学批评价值 ,特别是他的人物论在整个明代戏曲理论批评中比较突出。叶昼的批点在明末产生了很大的影响 ,直到金圣叹出 ,他的批评才相形失色

A restorative trend is manefested in the reception of the drama the West Chamber by the Middle Ming Dynasty audiences. The paper attempts to demonstratethis view from three aspects: version reception, critical reception and theoretical reception.

在明代中期的《西厢》接受史上 ,可以看出复古思潮的鲜明影响 ,本文力图从三个方面 :即刻本接受、评点接受 ,及戏曲理论批评的角度说明之。

It is one important characteristic of Chinese ancient literature and art criticism that critics expressed their aesthetic feeling in terms of taste (Wei or Quwei). Up to now, The study of "Wei(taste)" and "interest(Qu)" in Chinese ancient poetic criticism caused more attention than that in Chinese traditional opera criticism. "Wei(taste)" and "Qu(interesting)" has two meanings in opera criticism. One is the meaning of popular sense and vulgar interesting; the other is of the "aesthetic state (Jingjie or Yijing)"....

It is one important characteristic of Chinese ancient literature and art criticism that critics expressed their aesthetic feeling in terms of taste (Wei or Quwei). Up to now, The study of "Wei(taste)" and "interest(Qu)" in Chinese ancient poetic criticism caused more attention than that in Chinese traditional opera criticism. "Wei(taste)" and "Qu(interesting)" has two meanings in opera criticism. One is the meaning of popular sense and vulgar interesting; the other is of the "aesthetic state (Jingjie or Yijing)". This paper gives an overall analysis of the features and relations of "Wei (taste)" and "Qu (interesting)" theory in Chinese traditional opera criticism, explains the continuous development, and illustrates main concept of Chinese traditional opera aesthetics.

 以"味"论"艺"是中国古代文艺理论批评的一个重要的传统特点,但学术界主要对"诗味论"研究较多,而对古代戏曲理论批评中的"味"论涉及甚少。古代戏曲理论批评中的"味"论,主要涉及两个层面的内涵,一是要通俗、有"俚趣",二是要有"境界(意境)"。本文初次从通论角度对中国古代戏曲理论批评中的"味"论及其主要特点,做了一个总体性的论述,旨在分析戏曲理论批评著作中的"味"及"趣"之概念的审美内涵,分析戏曲"趣味"论与其"境界(意境)"论的关系,由此说明中国古代戏曲理论批评家关于戏曲"美感"论的主要观念。

 
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