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   drama 在 文艺理论 分类中 的翻译结果: 查询用时:0.186秒
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drama
相关语句
  戏剧
    On Drama Translation
    论戏剧语言的翻译
短句来源
    Relevance Theoretic Explaration of the Cultural Factors in the Drama Dialogue Translation
    戏剧对白翻译中文化因素的关联理论解释
短句来源
    Relevance Theory and Drama Translation
    关联理论与戏剧翻译
短句来源
    On the Translator's Subjectivity in Drama Translation
    论戏剧翻译中译者的主体性
短句来源
    On Equivalence in Drama Translation
    论戏剧的对等翻译原则
短句来源
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  话剧
    There also exist some problems in Chinese spoken drama translation.
    但是对于中国话剧的翻译也如同其他形式的文学翻译一样,存在这样那样的问题。
短句来源
    The translation of drama differs, to some extent, from that of other literary genres.
    话剧翻译在一定程度上不同于其他文体的翻译。
短句来源
    Therefore, common sayings with cultural particularities underlying may impose great difficulty on drama translation.
    因此,具有一定文化特殊性的俗语就为话剧的翻译带来了不小的困难。
短句来源
    Nida has propounded the famous theory of dynamic equivalence, which emphasizes audience's response and therefore, seeks to be natural in expression and equivalent in effect, which is in concordance with drama translation, since if the translated text of a drama is not natural, it will be hard for the actors to pronounce, nor will it be immediately understood and appreciated by the audience.
    动态对等理论强调观众的反应,因此在翻译中追求表达上的自然,效果上的对等,这与话剧翻译在根本上是一致的,因为如果话剧译本表达上不自然,则演员无法上口,观众也很难立即体会和欣赏其中的妙处。
短句来源
    Cultural aspects are always tough nuts to crack in translation, especially in drama translation.
    牵涉文化层面的翻译往往比较棘手,尤其是在话剧翻译中。
短句来源
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    Hamlet as the representative ofShakespeare's drama, boasts various forms, rich language and cultural allusions, which are allhard for translators to deal with.
    而《哈姆莱特》作为莎的代表,有包括无韵诗在内的丰富形式,戏中的文化典故和双关手法也都为译者的翻译设置了障碍。
短句来源
    Firstly, we classify it: (1) the clue words at the beginning of every drama\act\scene.
    文章分三部分来阐述,第一章引言部分界定研究范围,概括基本特征,给提示性语言分类,将提示性语言分为三类:1、全或各幕、场次开始的提示性语言2、话轮内的提示性语言3、话轮间的提示性语言。
短句来源
    say inspiration From Hegle about the " reconcile " in tragedy : the " reconcile " run through in tragedy works, make tragedy and suffering drama have got distinguish obviously, thus become the key element of tragedy.
    本文由黑格尔关于悲的"和解说"得到启发,从两个方面论述了"和解"在悲中的重要作用:"和解"贯穿于悲作品中,使悲与苦难有了明显区分,因而成为悲的核心元素;
短句来源
    To taste drama, TV and movie, one should master their respective artistic vocabulary, employ his own comprehensive thinking and raise his subjective tasting ability continuously.
    影、视、的审美鉴赏 ,要求能把握它们各自的艺术语汇 ,善于运用综合思维 ,并且不断提高主体审美能力 ;
短句来源
    The evaluation of movie, TV and drama should be based on the fundamental principles of objectivity, creativity and multielement.
    影、视、的评论 ,则应遵循客观性—创造性—多元化等基本原则进行。
短句来源
  “drama”译为未确定词的双语例句
    On the Difference of Theatricality Between Chinese and Western Drama
    中西戏剧的“戏剧性”比较
短句来源
    The major focus of my doctoral thesis is put on the western canon "Dionysus Ritual" and its original meanings covered drama, arts, poem, religion, magic and so on with the literary anthropological perspective.
    本文选择文学人类学这一个新的研究领域,以西方经典性的“酒神祭仪”命题为切入点,特别选择了被称之为“传统的贮存器”(container)的仪式为主要阐发。
短句来源
    There is arelative absence of theoretical writing on drama and its translation.
    尤其在国内,戏剧的翻译多以文学欣赏与研究为目的,其舞台演出的终极属性多被忽略。
短句来源
    Reception Aestheticsas a new discipline that has shed light on drama translation is introduced in ChapterTwo.
    第二章介绍了接受美学这一新兴理论的基本理论框架以及接受美学思想对翻译理论的影响。
短句来源
    The research of absurd drama is of great interests to the academic circle in 20~(th) century.
    二十世纪关于荒诞派戏剧的研究,学术界较为关注。
短句来源
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  drama
The present paper deals with chemometric interpretation of soil analysis data collected from 31 sampling sites in the region of Kavala and Drama, Northern Greece.
      
Factitious impairment of stance and gait was studied in 13 healthy drama students.
      
But it is possible that ethical principles of good decision-making fall victims to the drama of the story.
      
Sharing Feyerabend's criticism of epistemological "naturalism" the author argues that Brecht's drama merely reproduces the popular myth of the scientist Galilei and thus a widespread misinterpretation of the nature of science itself.
      
This possible 'spirit of deception' may be deceiving the participants in the Joban drama into pursuing the ambiguitiesof 4:17 to their logical implication in the context of Job, that Job is more righteous than YHWH.
      
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The theoretic basis for the homogeny of drama and poetry is that both forms of art cannot exist without "tension". As a mimetic art, drama manifests its dramaticness through the tension between its characters' action, while for poetry, the dramaticness is expressed by dint of the (con) textual tension between various elements in the poetic (con) text. Dramatic tension is a forming principle not only for drama, but also for poetry. Following that principle, poetry entwines and untwines various...

The theoretic basis for the homogeny of drama and poetry is that both forms of art cannot exist without "tension". As a mimetic art, drama manifests its dramaticness through the tension between its characters' action, while for poetry, the dramaticness is expressed by dint of the (con) textual tension between various elements in the poetic (con) text. Dramatic tension is a forming principle not only for drama, but also for poetry. Following that principle, poetry entwines and untwines various contentions between its form and content, its form and other forms, and at last unifies them into a perfect dramatic whole.

“诗剧同质”的诗学基础在于这两种体裁的文学作品都离不开“冲突”。作为模仿的艺术,戏剧依靠人物的行动间的冲突来表现它的戏剧性。作为表现的艺术,抒情诗则利用各成份间相互抵牾而形成的矛盾语景来展示自身戏剧性的特征。“戏剧性冲突”不仅是戏剧结构的原则,同时也是抒情诗结构的原则。依靠这一原则,诗歌营造并且克服了自身结构中形式与内容,形式与形式间的诸多矛盾,最终达到主题的统一,形成完美的戏剧性整体。

“The superfluous persons”in Cao yus dramas have some common characters:they have no selfconsciousness and are flabby in character.But the different families and the different education make each of them have his own individual character.The author mainly analyses the characters of Zhou Ping and Zeng Wenqing in this article.

作为一个群体,曹禺剧作中的“多余人”都缺少明确的个体意识,他们的性格也很软弱。但由于彼此的家庭环境和所受的教育不同,这些人物又表现出各自不同的个性特征。文中重点分析了周萍和曾文清两个人物形象

Silence as a dramatic devei\ce is used frequently by dramatists to express various things and feelings in different contexts. This article analyzes Beckett's use of silence in his Waiting for Godot to show the power of the mute language in drama, which has a peculiar effect to help people understand what extremity people's alienation has advanced from themselves, form each other and from the world around them in post-war times.

SilenceinWAITINGFORGODOTLiShixiaoAbstractSilenceasadramaticdeveieisusedfrequentlybydramatiststoexpresvariousthingsandfeelings...

 
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