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literary mind
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  文心
     A Review on Studies of The Literary Mind and the Carving of Dragon in China in the 20th Century
     20世纪中国《文心雕龙》研究综论
短句来源
     2000 The Literary Mind and the Carving of Dragons International Symposium(Zhenjiang)——A Summary
     2000镇江《文心雕龙》国际学术研讨会综述
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     On the Influence of Metaphysics of Wei and Jin Dynasties On the Artistic Dialectics in Literary Mind Elaboration
     论魏晋玄学对《文心雕龙》艺术辩证法的影响
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     A Modern Interpretation of the Creation Theories in The Literary Mind and the Carving of Dragons
     《文心雕龙》创作论的现代绎说
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     The Literary Mind and Carving of Dragons discusses 34 types of writing, while The Wen Xuan gives a list of 39, with about 20 overlapping in their lists.
     《文心》所论文体34种,《文选》39种,两书基本相同的文体选目近20种。
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  “literary mind”译为未确定词的双语例句
     The modern cognitive theory of parabolic mind was introduced in Mark Turner’s The Literary Mind: The Origins of Thought and Language in 1996. As one of the most influential cognitive stylistic frameworks, the theory has proved particularly appealing to literary critics who are interested in how human mind deals with literary texts.
     Turner在他的The Literary Mind: The Origins of Thought and Language(1996)一书中详细阐述了这一理论。 Turner认为,寓言就是故事的投射,所有的语言和思维都是以寓言为基础的,文学语篇也不例外。
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     New Ideas About the Gist of Passage of Hidden Excellences in Literary Mind and Carved Dragon
     《文心雕龙·隐秀篇》主旨新说
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     The Image of Lin Daiyu as Symbolic of the Poetic Sentiments of Ancient Chinese Literary Mind
     作为中国古代文士心灵史象征的黛玉形象
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     Exotic Flower on the Ancient Tree of Dragonology ──A Brief Comment on Mr.Zhang Guangnian's The Literary Mind and the Carving of Dragons:A Translation in Parallel Prose
     古老“龙”树绽奇葩──浅评张光年《骈体语译文心雕龙》
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     A Tentative Study of the "Taste" Argued by Liu Xie in the Literary Mind
     刘勰论“味”蠡测
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  相似匹配句对
     Study on the nature of The Literary Mind and the Carving of the Dragon
     《文心雕龙》性质探微——一部指导文章写作的理论巨著
短句来源
     The Literary Mind and the Carving of Dragons and The Summary of Arts
     《文心雕龙》与《艺概》
短句来源
     On Literary Translation
     文学翻译刍议
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     Serenity of Mind
     心灵的平静
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     Mind Storm
     思想风暴
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  literary mind
The use of imagination; educational thought and the literary mind.
      


The author disagrees with those literary critics who deny ttha Literary Mind Elaboration received any influence from the metaphisical philosophy of Wei and Jin Dynasties. He advances his own original view in this paper that themetaphysical philosophy in Wei and Jin Dynasties succeeded in carrying forward the dialectics put forth in the Three Metaphysics Classics and, in termsof methodology, exerted significant influence on Liu Xia's work, Literary Mind Elaboration.This influence has its prominent...

The author disagrees with those literary critics who deny ttha Literary Mind Elaboration received any influence from the metaphisical philosophy of Wei and Jin Dynasties. He advances his own original view in this paper that themetaphysical philosophy in Wei and Jin Dynasties succeeded in carrying forward the dialectics put forth in the Three Metaphysics Classics and, in termsof methodology, exerted significant influence on Liu Xia's work, Literary Mind Elaboration.This influence has its prominent evidence in the process in which the "Tao as Essential" theory and the aesthetic concept of "Natural Interest" tookshape. The metaphysical influence also demonstrates itself in helping formthe idea of unity of opposites in the work. Besides,"Diff erentiation between Lang-uage and Meaning" held by metaphysics exerted considerable effects on thetheory and methodology of the work. Therefore, the metaphysical philosophy of Wei and Jin Dynasties should be considered a major source of artistic dialectics fin this work.In order to provide a basis, both subjective and objective, for Liu Xia to accept metaphysical influence, the author of this paper also elaborates on the development of literature and criticism, as well as the academic learning in Qi and Liang Dynasties.

本文不同意文学批评史家们否定《文心雕龙》受玄学影响的意见,认为魏晋玄学发挥了“三玄”中的辩证思想,在方法论上给《文心雕龙》以重要影响。这突出表现在《文心雕龙》“以道为本”理论构架的形成和“自然之趣”艺术观的形成上,也表现在它的对立统一观念、运动变化观念的形成上,同时,玄学“言意之辨”对它的理论方法也有很大影响。因此,魏晋玄学是《文心雕龙》艺术辩证法的一个重要思想来源。本文还从齐梁时代文学与批评的发展以及学术思想的状况论证了刘勰接受玄学影响的主客观依据。

The interpretation, translation and actual expression of “mononoaware” in classical literary theory of Japan have been the hot issues of Japanology through the ages. As far as it is concerned, the corresponding thinking and criticism are made. On the one hand, in reference to the classical Chinese work of literary criticism Wen Xin Diao Long (The Literary Mind and the Carving of the Dragon), “mono” means the objective existence,and “aware” is the subjective reflection of the objective existence....

The interpretation, translation and actual expression of “mononoaware” in classical literary theory of Japan have been the hot issues of Japanology through the ages. As far as it is concerned, the corresponding thinking and criticism are made. On the one hand, in reference to the classical Chinese work of literary criticism Wen Xin Diao Long (The Literary Mind and the Carving of the Dragon), “mono” means the objective existence,and “aware” is the subjective reflection of the objective existence. In other words, it is the deep emotion of life. On the other hand, “mononoaware” is thought to be translated as “emotion by objects,” because the “aware” in “mononoaware” is to express more emotion. In discussing the expression of “mononoaware,” the main contents of the famous classical Japanese work Genjimonogatali are referred to and the different views in different situations are analyzed.

日本古典文艺理论中的“物之哀”理解与翻译以及实际表现 ,在以往乃至于目前的日本学研究界都是议论纷争的热门话题 ,对此笔者作出了相对应的思考与批评。在对“物之哀”的理解方面 ,参照我国古典《文心雕龙》的理论 ,认为“物”乃是客观之存在 ,“哀”则是对于客观存在表现出来的主观反映 ,综合言之即是一种对人生的深深感动 ;在对“物之哀”的翻译方面 ,认为应该将其翻译为“感物兴情” ,因为“物之哀”的“哀”即是表现了诸多的情感成分 ;在论述“物之哀”的表现方面 ,主要参考了日本古典文学名著《源氏物语》的文句 ,分析了不同场合或的不同议法

The thesis has mainly clarified Liuxies (刘勰)Remark on Caocao (曹操)、Caopi(曹丕)and Caorui(曹睿),and pointed out their achievements on literary creation。The two couplets (lines)“Wield the pen to write hearty songs,dip the brush in ink to ease talk and laugh”in The Literary Mind and The Carving of Dragons well depicts the state of mind of the three generations of the Wei Kingdom, who loved literature and poetry.The untrammelled...

The thesis has mainly clarified Liuxies (刘勰)Remark on Caocao (曹操)、Caopi(曹丕)and Caorui(曹睿),and pointed out their achievements on literary creation。The two couplets (lines)“Wield the pen to write hearty songs,dip the brush in ink to ease talk and laugh”in The Literary Mind and The Carving of Dragons well depicts the state of mind of the three generations of the Wei Kingdom, who loved literature and poetry.The untrammelled spirit of the three genecations of the Cao family became a glorious and magnificent chapter in the history of the Chinese literature.Their achievement surprised us.Though Liuxies discussion of “The three generations of the Wei Kingdom”is not comprehensive and systematic,we should value his opinion,because it contains much penetrating judgement.

本文主要阐明刘勰对曹操、曹丕、曹睿的论述,指出他们的文学成就。《文心雕龙·时序》篇说:“洒笔以成酣歌,和墨以藉谈笑。”颇能绘出“魏氏三祖”喜爱文学,作诗制曲的情状。曹氏一家三代之风流,成为中国文学史上光辉灿烂的篇章,令人惊叹不已。刘勰对“魏氏三祖”的论述,虽不那么全面、系统,却不乏精全美玉,值得我们珍视

 
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