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the form of art
相关语句
  艺术形式
     People pursue the form of art persistently mainly in the following four aspects: to take form l)as the objective categories;
     人们对艺术形式的不懈追求,主要从四个方面,即形式作为客体范畴、形式作为主体范畴,以及形式作为非主非客和主客相融的四个方面,构成了新形式理性的大厦。
短句来源
     As for the form of art, Liu enhanced the national style of Chinese literature, advacating the combination of the feature and reality, generosity and art.
     在艺术形式上,刘绍棠弘扬了中国文学的民族风格,追求传奇性与真实性相结合;
短句来源
     In the aesthetic theories of 20 century, it is known that the modern aesthetic schools such as Russian formalism, the new criticism, structuralism pay high attention to aesthetic implication. Although the so-called external investigation schools more or less can't stand the temptation, some of which even contemplate the form of art carefully unconsciously.
     在20世纪的美学理论中,俄国形式主义、英美新批评、结构主义等现代美学流派以对艺术形式的审美蕴涵高度重视受到人们关注,即便是标举“外部研究”的诸多派别也都或多或少地顶不住艺术形式的诱惑,有些甚至在无意之中对艺术形式也思虑精深。
短句来源
     Modern art and metaphysics also worship the subject of human beings,ignore the form of sensibility,regard the nature as object that human being is the oppoite of the nature. Modern art breaks up the form of art.
     现代艺术与形而上学一样崇拜人的主体性,忽视艺术的感性形式,将客观世界对象化,人与世界处于割裂与对立之中,造成现代艺术形式感的破碎。
短句来源
     Thus, the intercultural poetical aesthetics, positivism and the form of art deserve our full attention in a stuy of poetics.
     互文性理论要成为一种诗学研究,应该充分关注跨文化间的诗意意识、实证研究和艺术形式等因素。
短句来源
  文艺形式
     In the surging tide of reform and opening up, China's literature in the period has broken with gathering momentum the fetters of the Cultural Revolution, when literature was taken for a mere political instrument, and had made bold attempts in the form of art and literature.
     中国新时期文学在改革开放的大潮中 ,以强劲的势头突破了“文革”时期把文学作为政治工具的束缚 ,在文艺形式上进行了大胆的尝试 ,取得了一定的成绩。
短句来源
  “the form of art”译为未确定词的双语例句
     As Tibetan Buddhism has been a "thang kha" of the most important performance China, limited and the images in the form of art materials, techniques are adhered to the strict Normative, and to a certain extent, restrained the images in the style and form of innovation can power, but also makes traditional performance practices to survive, many details in images, More delicate in the field has gradually lost ancient techniques, materials advantages in the images, Has been preserved in memory.
     由于藏传佛教一直作为唐卡最主要的表现内容,限定了唐卡在艺术表现形式和材料、技法方面都坚守着严格的规范性,在一定程度上制约了唐卡在风格和形式上的创新能力,但也使得传统的表现手法的诸多细节在唐卡中得以幸存,许多在工笔画领域中已经逐渐失传的古代技法、材料优势在唐卡中被完好地传承至今。
短句来源
     While new technology and information are changing and enriching the form of art, artists also affect information and information industry combining art and information as a unique body.
     新科技、新信息等导入艺术中改变并丰富了艺术的形式。 艺术家利用信息的同时也影响、改变并传播了信息和信息产业。
短句来源
     There are many disparities between Chinese traditional drama and the western drama in the form of art expressions, which have unique and continuous tradition when the language styles, plot compositions, performance manners and theatre experiences are mentioned.
     中国戏曲与西方戏剧在艺术形态上有着诸多差异,不论是语言类型、情节结构,还是演出风格、剧场经验,中西方戏剧都各自具有独特且较为连贯的艺术传统。
短句来源
     Chinese traditional art history writing has been characterized by compilinginformation in the form of art history is a dynasty replacement for the phased stagesof the basic duplication or confined to the political history model.
     中国传统美术史写作一直是以编纂资料为特征的形式,美术史的分期也是以王朝更替为阶段标志,基本雷同或局限于政治史的模式。
短句来源
     By means of economics and philosophy,this dissertation introduces the following points in the light of artistic principles:(1) the nature of art,(2)the content of art,(3) the form of art,(4) the creation of art,(5) the appreation of art.
     将艺术与经济联系起来的理论基础在于:1.艺术本质——艺术为生产力要素之一,亦是人类基本需求与经济需求之一; 艺术功能包含经济价值;
短句来源
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  the form of art
The poem presents a well-crafted piece of legal rhetoric in the form of art.
      


The adaptation of TV plays should be audience centered. The change of the form of art gives rise to the difference between the receivers. The aesthetic consciousness of the audience orients the play adaptation, so adapters should grasp it and respond positively, appeal to the aidience for active participation and recreation, and enhance the audience's aesthetic judgement while meeting their aesthetic needs. The adaptation should also accord with audience's aesthetic style, be of distinctive artistry and...

The adaptation of TV plays should be audience centered. The change of the form of art gives rise to the difference between the receivers. The aesthetic consciousness of the audience orients the play adaptation, so adapters should grasp it and respond positively, appeal to the aidience for active participation and recreation, and enhance the audience's aesthetic judgement while meeting their aesthetic needs. The adaptation should also accord with audience's aesthetic style, be of distinctive artistry and leave thinking space for audience.

电视剧的改编应以观众为最终的目的。艺术形式的转换导致了受者主体的差异 ,观众的艺术审美心理 ,决定了电视剧改编的取向 ,改编者应对之准确把握并积极回应 ,呼吁观众的主动参与和再创作 ,在满足观众审美需要的同时提升其审美能力。改编的结构应符合观众的审美层次 ,具有独特的艺术性 ,并留有空白形成张力。

Marcuse's theory of the artistic form, constitutes one of the important component dimensions of his aesthetical ideology, which tries, from the - of the relationship between the of the relationship between the "dimension of the appreciation of the beautiful"and the dimension of the soical rationality, to look closely at forms of art, the artistic forms considered by him to be a medium through which to bring into realization the political and revolutionary functions of art, and to reveal the relationships between...

Marcuse's theory of the artistic form, constitutes one of the important component dimensions of his aesthetical ideology, which tries, from the - of the relationship between the of the relationship between the "dimension of the appreciation of the beautiful"and the dimension of the soical rationality, to look closely at forms of art, the artistic forms considered by him to be a medium through which to bring into realization the political and revolutionary functions of art, and to reveal the relationships between the form of art and the content of a work ,between the artistic form and the perceptual liberation ,and between the artistic form and the aesthetical law. This theory of the artistic form has its own sharphy distinctive features, quite different from the traditional Marxist aesthetical theory of forms as well as for the Western schools of formalist aesthetics.

马尔库塞的艺术形式论是其美学思想的重要构成维度,它从“审美之维”与社会理性之维关系角度来审视艺术形式,把艺术形式视为艺术的政治、革命功能的实现介体,并揭示了艺术形式与作品内容、艺术形式与感性解放、艺术形式与美学规律的关系。这一艺术形式论以其自身鲜明特色而殊异于传统马克思主义美学的形式理论和现代西方形式主义美学流派。

Adaptation is not simply a conversion of style from literature to film, but a \!dialogue". It is a dialogue between the original work that has become history as well as a dialogue between the underdevelopment \!fact": It is a dialogue with the original author yet with the underneath acceptors of future films. Owing to the differences of the time,the history and the cultural background, owing to the differences between the two forms of art and the two forms of dissemination intermediary, owing to the differences...

Adaptation is not simply a conversion of style from literature to film, but a \!dialogue". It is a dialogue between the original work that has become history as well as a dialogue between the underdevelopment \!fact": It is a dialogue with the original author yet with the underneath acceptors of future films. Owing to the differences of the time,the history and the cultural background, owing to the differences between the two forms of art and the two forms of dissemination intermediary, owing to the differences of the authors' personality, aesthetic sense and life experiences, there would be two forms of language expression system between original author and adapter. The process of adaptation is at the same time the process of persuading balance in the contradiction between both sides, and the process of seeking the symbols of conveying language that meet the regulation of the modern civilization, and this is what is so\|called \!dialogue". Meanwhile, this kind of \!dialogue" actually is also a collision between the two forms of art and the two forms of dissemination intermediary, between the evident distance from written language form to audiovisual form. The adapting practice of Xia Yan 's \!17 years after the foundation of our country" successfully fulfilled the \!dialogue" in two aspects: One is the spiritual purport, the other is the form of art\|which not only conveyed the original purport but also conveyed the form--from novel to film. In the view of playwriting. The more important is, the adapting practice fulfilled the dialogue with main stream ideology and also it offered an extraordinary model for the establishment of a new ideology from the aspect of scenario production.

改编并不是简单的从文学到电影的形式转换 ,而是一次“对话”。既是与已经成为“历史”的原作的“对话” ,也是与正在发展的“现实”的“对话” ;既是与原作者的“对话” ,也是与未来影片的潜在接受者的“对话”。由于时代、历史、文化背景的差异 ,由于两种艺术形式、两种传播媒介的差异 ,也由于创作者 (包括原作者和改编者 )艺术个性、审美趣味、生活经历等等各方面的差异 ,原作者和改编者之间势必存在两套不同的语言表达系统。改编的过程也是在两者的矛盾冲撞中竭力寻求平衡的过程 ,是在裂隙间寻找符合现时社会文化所需要的语言表意符码的过程 ,这就是所谓的“对话”。同时 ,由于文字语言思维与视听语言思维本身存在的差异 ,“对话”事实上也是两种艺术形式、两种传播媒介之间的碰撞。夏衍“建国 17年”的改编实践在精神主旨和艺术形式两个层面上 ,成功地完成了与原作和原作者的“对话” ,既相对准确地传达出原作的精神主旨 ,又在剧作的角度创造性地完成了形式的转换———从小说到电影。更重要的是 ,夏衍的改编实践还完成了与主流意识形态的“对话” ,从电影创作方面为新的意识形态的确立提供了引人注目的“范本”。

 
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