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new literary history
相关语句
  新的文学史
     Is a New Literary History Possible
     新的文学史可能吗
短句来源
     The Construction of HU Shi about the New Literary History
     “破坏性重述”──胡适新的文学史观的构筑
短句来源
  新文学史
     In addition, this paper makes a brief comparison between Li jieren and Bakin, and from this we may see that Li jieren is the writer who faithfully "cope " the 19th century French realistic model, and successfully fuses his nation and personality into it in the new literary history in China.
     此外,本文还把李劼人与巴金进行了一个简单的比较,从中可以看出李劼人是中国新文学史上忠实地“照搬”法国十九世纪现实主义模式,且成功地将民族和作家自己个性灌注其中的作家。
短句来源
     His success is closely related with his special artistic qualities and the time he lived in. All these enable him to be the first in new literary history to make a rational rethink on a higher level on the basis of ten-year novel creation.
     老舍的成功,与他的特有的艺术气质以及所处的时代关系密切,使他在新文学史上第一个十年小说创作的基础上能进行更高层次上的理性反思。
短句来源
  “new literary history”译为未确定词的双语例句
     constructing a new literary history system by the combination of reception and creation history;
     接受史与创作史互补,建构文学史体系的现代格局;
短句来源
  相似匹配句对
     New
     新 编辑手记
短句来源
     NEW
     新品撷英
短句来源
     New View on Traditional Literary Crticism
     另眼相看中国传统文论──兼与《马眼中的骆驼》商榷
短句来源
     On the Transformation of the Literary Language in the New Era
     新时期文学语言变迁寻踪
短句来源
     Is a New Literary History Possible
     新的文学史可能吗
短句来源
查询“new literary history”译词为用户自定义的双语例句

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The New Literary History of China,writt en by Mr.Sima Changfeng of HongK ong,is a Historical literature work with distinguishing artistic features.This b ook is characterized in its lively and varied writing style and its original cr iticism focusing on art itself.There are many penetrating views in the article,w hile there are still some points remaining for public discussion.In this article ,the author intends to discuss the following questions with Mr.Sima,and they are :the criticism against Caoyu,Caoyu’s...

The New Literary History of China,writt en by Mr.Sima Changfeng of HongK ong,is a Historical literature work with distinguishing artistic features.This b ook is characterized in its lively and varied writing style and its original cr iticism focusing on art itself.There are many penetrating views in the article,w hile there are still some points remaining for public discussion.In this article ,the author intends to discuss the following questions with Mr.Sima,and they are :the criticism against Caoyu,Caoyu’s disculative psychology in writing the Thun derstorm,the lack of national character basis in describing the image of Fanyi, and Cao’s stealing from some famous western dramas.

香港司马长风先生的《中国新文学史》是一部颇具特色的文学史著。该书以活泼多姿的行文风格和重本体研究的批评特色见长,书中不乏作者的真知灼见,但值得商榷之处也不少。本文谨就其曹禺批评,对《雷雨》“写作上的投机心理”、蘩漪形象刻画的缺乏民族性格依据以及曹禺对西方名剧的“窃取”等问题试与司马先生商榷。

There have been two sorts of writing patterns that are collective writing and individual writing in the field of writing literary history since Oct.1,1949.In the range of individual writing,a lot of literary history works whose representative was Wang Yao's Manuscript of Chinese New Literary History with obvious national and collective discours firstly occurred in 1950s.In 1980s,Simply Modern Literary History of China written by Hang Xiuji and 30 Years of Chinese Modern...

There have been two sorts of writing patterns that are collective writing and individual writing in the field of writing literary history since Oct.1,1949.In the range of individual writing,a lot of literary history works whose representative was Wang Yao's Manuscript of Chinese New Literary History with obvious national and collective discours firstly occurred in 1950s.In 1980s,Simply Modern Literary History of China written by Hang Xiuji and 30 Years of Chinese Modern Literary History written by Qian Liqun,Wu Fuhui,Wun Rumin and Wang Chaobing were published.the study angle of modernity has come into the later work.Chen Sihe and Hong Zicheng separately wrote a work of Chinese contemporary literary history in 1990s,they stand on the enlightenment position to ponder the developed process of Chinese contemporary literary history.By studying the process,from Collective Discourse to Enlightenment Discourse in the field of writing literary history,we can understand what social economic and political conditions decisively restrict the writing of literary history.

自建国以来 ,我国的文学史写作就存在两种方式 :集体写作与个人写作。在“个人写作”范畴中 ,以王瑶《中国新文学史稿》为代表的一批著作带着鲜明的国家集体话语首先出现 ;到 80年代 ,黄修己的《中国现代文学简史》与钱理群等人的《中国现代文学三十年》出版 ,“现代性”视角在文学史写作中出现 ;90年代 ,陈思和与洪子诚各自完成一部当代文学史著 ,他们不约而同地站在启蒙立场上对当代文学流程进行反思 ,从文学史个人写作由“集体话语”到“启蒙话语”嬗变的动态过程中 ,我们可感受到社会经济、政治状况对文学史写作决定性的制约作用。

The study of the history of literary reception has undergone three stages generally in China since 1980s: the introduction and assimilation of reception-aesthetics, attempt at the study of reception history, and plural development.Chinese scholars have some new discoveries in the paradigm of the reception history as the following: realizing the modernization of the traditional academic methods; opening up new academic growth from new academic prospective; constructing a new literary history system by the...

The study of the history of literary reception has undergone three stages generally in China since 1980s: the introduction and assimilation of reception-aesthetics, attempt at the study of reception history, and plural development.Chinese scholars have some new discoveries in the paradigm of the reception history as the following: realizing the modernization of the traditional academic methods; opening up new academic growth from new academic prospective; constructing a new literary history system by the combination of reception and creation history; enriching academic thinking and helping set up consciousness of reception history. The history of literary reception modernizes the classical aesthetic experience. As a new aspect in modern literature history, it has essential differences from the history of academic study in subjects, the qualities of the objects, functions and tasks, and the researching attitudes.

20世纪80年代以来中国学者对接受史模式作了大量的探索:革新"集注"、"集说"传统,实现传统学术方法的现代转型;以新颖的视野开辟学术生长点;接受史与创作史互补,建构文学史体系的现代格局;丰富学术思维,接受史意识成为学者的自觉意识。接受史研究是为了沟通古今审美经验,让古典走向现代。接受史作为与创作史前后衔接的现代文学史格局中的新维度,同"辨章学术,考镜源流"而更紧邻文学史料学的学术研究史,在主体范围、对象性质、功能任务和研究态度等方面,均有实质区别。

 
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