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  主题
    Humanitarianism: an Inevitable Subject For the Creation of Industrial Litrerature
    人道主义:工业题材创作不容回避的主题
短句来源
    On Subject Orientation of Women Poetry during Wei, Jin, Southern and Northern Dynasties
    魏晋南北朝妇女诗歌的主题取向
短句来源
    From"Worried Life"to "Turn pupa into Butterfly" ──Subsistence subject of Chi Li's Novels in Social Conversion Period
    从“烦恼人生”到“化蛹为蝶”──社会转型期池莉小说创作中的生存主题
短句来源
    The Fusion of Modern Consciousness and Traditional Spirit ——Analysizing the subject feature of Yao Yiwei's plays
    现代意识与传统精神的相互沟通——论姚一苇剧作的主题特色
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    Decadence and Rescue——a subject about He Qirang's literature spirit
    颓废与拯救——何其芳文学精神的一个主题
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  主语
    The first section of paper counts verbs and adjectives, which are acted ascomplement in Xi You ji, and indicate complicated semantic relation betweenVerb-complement and subject, object by charts.
    第一部分,统计了全书中常用于充当结果补语的动词、形容词,并用图表分析了动、补与主语、宾语之间复杂的语义关系。
短句来源
    Each class object can be described from two aspects: the constitutions of it and the possibility of it in transferring to other syntactic components(the subject, the adverbial and the complement, especially the subject).
    每类宾语都主要从两个角度来描写其异同:宾语的构成和宾语转换为其他句法成分(即主语、状语、补语,主要是主语)的可能性。
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  题材
    Representative plays of zaju in the Yuan dynasty or chuanqi in the Ming dynasty reflect literati's different viewpoints on the same subject.
    从元杂剧到明传奇,相应的代表剧作反映了不同时代文人在各自的时代背景下运用不同的文体对这同一个题材的不同思考。
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    Humanitarianism: an Inevitable Subject For the Creation of Industrial Litrerature
    人道主义:工业题材创作不容回避的主题
短句来源
    The Structure Pattern of the Relationship among Characters in Modern Novels on the Subject of Families
    中国现代家族题材小说中人物关系的结构模式
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    Analyze Briefly the Difference between “Native Soil Novel” and “Countryside Subject Novel”
    浅析“乡土小说”与“农村题材小说”的区别
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    A Spiritual Purgatory of Modern Intellectuals——Interpretations of the Subject Matter of Modern Itellectuals in Luling's Novels
    现代知识者的精神“炼狱”——解读路翎小说中的现代知识者题材
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  题目
    The form and the historical evolution of the subject of novels of script for story-telling
    话本小说“题目”的形式及其历史演进
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    This is a topic innovations for distributing Su Shih'sargument, in its comprehensive study, to be clear Su Shih's distributing concept artand unique landscapes, made the Su Shih's distributing the original, subject, aestheticstyle, writing features, the integrated impact on the value.
    本题目创新之处在于专项为苏轼小品文立论,全面综合地对其展开研究,力图做到明确苏轼小品文的概念及独特艺术内蕴、做出有关苏轼小品文的立意、谋篇、审美风格、写作特色、价值影响的综合论述。
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    The design that is subject to this criterion satisfies many kinds of linear optimal criterion and D-optimal criterion on several experiment models at the same time.
          
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    As an effort to trace the fu, parallel prose, down to its origin, this article concentrates on the following three propositions.1. As two different literary genres, "parallel prose" and "poem" were first mentioned together in Poems of Chu towards the end of Zhou Dynasty.2. At that time, "parallel prose" stood for the appellation of a literary form, containing two indications, "recitation" and "elaboration".3. Parallel prose originated from Zhou Dynasty enigmatic language. Xun Kuan's parallel prose stemmed from...

    As an effort to trace the fu, parallel prose, down to its origin, this article concentrates on the following three propositions.1. As two different literary genres, "parallel prose" and "poem" were first mentioned together in Poems of Chu towards the end of Zhou Dynasty.2. At that time, "parallel prose" stood for the appellation of a literary form, containing two indications, "recitation" and "elaboration".3. Parallel prose originated from Zhou Dynasty enigmatic language. Xun Kuan's parallel prose stemmed from a particular kind of enigmatic language in which the subject was conveyed through metaphors, whereas Song Yu's from another kind in which the subject was brought home by banter. The two can be traced down to the same origin. But on the other hand, Xun's parallel prose emulated The Poems, while Song's took Poems of Chu as the standard, thus resulting in enormous difference in both content and style. As a consequence, the two styles of parallel prose, the Northern Style and the Southern Style came into being, with Xun and Song as predecessors respectively.

    本文论赋体起源,主要提出三点看法: 其一,作为两种不同的文体名称,“赋”与“诗”相提并论始见于周末“楚辞”。其二,周末以“赋”命体的本义是“口诵”与“铺陈”的合二为一。其三,赋体源本先秦隐语。荀况赋出于隐语“隐谲示意”的一路,宋玉赋出于隐语“悦笑取讽”的一路,总其归途,实相枝干。同时,由于荀赋准的《诗经》,宋赋规模“楚辞”,故两者风神迥异,同源分流,开赋家南北二宗。

    In spite of the difference existing between Chinese and Western scholars in the theory on poetry and painting, there are still a lot of common opinions shared by the scholars. For example, scholars on,the two sides both proposed in one way or another that poetry and painting are the same thing;poetry and painting are different and complementary to each other;poetry and painting are interlinked;They also agreed, to some extent, on the arguement aboutwhich is better, poetry or painting? From the above we may say...

    In spite of the difference existing between Chinese and Western scholars in the theory on poetry and painting, there are still a lot of common opinions shared by the scholars. For example, scholars on,the two sides both proposed in one way or another that poetry and painting are the same thing;poetry and painting are different and complementary to each other;poetry and painting are interlinked;They also agreed, to some extent, on the arguement aboutwhich is better, poetry or painting? From the above we may say that differences between Chinese and Western scholars in the theory on poetry and painting are minor ones in comparison with the major agreement on the subject. After all, both the Chinese scholars and the Western ones are human being, the fact considerably diminishes the difference caused by social systems and national customs of various regions.

    中西诗画观虽有异趣,但在“诗画同理”、“诗面异理”、“诗画孰胜”、“诗画互补”、“诗画相通”等方面也有共识。中西诗画的差异是次要的,共识是主要的。这是由于因制度、地域、民情风俗等差异而产生的某些距离毕竟要服从“中西方人士都属万物之灵的人类”这个大前提,受这个大前提所制约。

    No literary work can rule out the writers' presentation of their subject consciousness, as it demonstrates the character of each subject at its different stages and levels, thus forming its unique, individualized coordinate system. The Confucianists look reality in the face. In order to save social morals from corrup- tion, they unremittingly probe into the inner links between individuals and groups, individual persons and society, and between subject and object. Their research naturally results...

    No literary work can rule out the writers' presentation of their subject consciousness, as it demonstrates the character of each subject at its different stages and levels, thus forming its unique, individualized coordinate system. The Confucianists look reality in the face. In order to save social morals from corrup- tion, they unremittingly probe into the inner links between individuals and groups, individual persons and society, and between subject and object. Their research naturally results in their pur- suit of art for life' s sake, in the presentation of the writers' own personalities, and their observations and learnings from real life, their cardinal inrentions being the consummation of personality and virtue, mercy and beauty. Taoists attempt to extricate themselves from the misery of life and seek after the emancipation of subjective freedom, which is presented as the combination of transcendental art and nature, and as the metaphysical and more speculative characters in art. Thus, it gives rise to the writers' self-consciousness in art and his freedom in demonstrating individuality.

    任何一部文学作品都不能排除表现作家的主体意识,它依主体的不同层次而表现出每一主体的个性,形成自己所特有的个性化的座标系统。儒家面对现实人生积极入世匡救,苦苦探求个体与群体、个人与社会、主体与客体的关系,其重点必然落实到为人生的艺术,表现其人生的体验和作家的自我人格,以求得性德圆触、仁美合一的境界;道家面对忧患人生力求解脱,追求主观自由的解放,表现为超越的自证的艺术与自然的融合。在艺术上更富于思辩的形而上学的性格,开启了艺术的自觉与作家个性的自由;而禅宗以人生为苦谛,否定生命的真实性,从生命中求得解脱。其所谓不二法门和两难论便是用自己顿悟的灵感去超越两边直探本源。只有深入禅境,才能自由无碍地出入这个世界,真我与道合一、物我两忘、宇宙与心灵融为一体,它不仅为作家援禅入诗、深宏诗的理趣、以得诗法的秘诀,也为诗所谓异端思想的作家提供了抗拒传统的封建思想的武器。

     
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