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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
the form of art
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