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literary-form
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     On Literary Reason
     文学理性问题研究
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     On Literary Translation
     文学翻译刍议
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     On Discussion on Literary Reformation
     《文学改良刍议》考——关于文学革命
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     On "Literary Revolution" of E-times
     论网络时代的“文学革命”
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     What is Literary Form?
     文体是一种什么形式?
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As an effort to trace the fu, parallel prose, down to its origin, this article concentrates on the following three propositions.1. As two different literary genres, "parallel prose" and "poem" were first mentioned together in Poems of Chu towards the end of Zhou Dynasty.2. At that time, "parallel prose" stood for the appellation of a literary form, containing two indications, "recitation" and "elaboration".3. Parallel prose originated from Zhou Dynasty enigmatic language. Xun Kuan's parallel prose stemmed from...

As an effort to trace the fu, parallel prose, down to its origin, this article concentrates on the following three propositions.1. As two different literary genres, "parallel prose" and "poem" were first mentioned together in Poems of Chu towards the end of Zhou Dynasty.2. At that time, "parallel prose" stood for the appellation of a literary form, containing two indications, "recitation" and "elaboration".3. Parallel prose originated from Zhou Dynasty enigmatic language. Xun Kuan's parallel prose stemmed from a particular kind of enigmatic language in which the subject was conveyed through metaphors, whereas Song Yu's from another kind in which the subject was brought home by banter. The two can be traced down to the same origin. But on the other hand, Xun's parallel prose emulated The Poems, while Song's took Poems of Chu as the standard, thus resulting in enormous difference in both content and style. As a consequence, the two styles of parallel prose, the Northern Style and the Southern Style came into being, with Xun and Song as predecessors respectively.

本文论赋体起源,主要提出三点看法: 其一,作为两种不同的文体名称,“赋”与“诗”相提并论始见于周末“楚辞”。其二,周末以“赋”命体的本义是“口诵”与“铺陈”的合二为一。其三,赋体源本先秦隐语。荀况赋出于隐语“隐谲示意”的一路,宋玉赋出于隐语“悦笑取讽”的一路,总其归途,实相枝干。同时,由于荀赋准的《诗经》,宋赋规模“楚辞”,故两者风神迥异,同源分流,开赋家南北二宗。

he"Bian Wen "of Dunhuang is always an important subject for Dunhuangstudies,which has continued to draw attention of many scholars and great progress hasbeen made recently,However until now,many basic problems still had not been solved.What the”Bian Wen"is,in fact,is still very confused.I think that this phenomenon is aresult that many scholars used to have a false theory about to guard their studies. Previ-ously,scholars always thought”Bian Wen"was a kind of literary form,that was foundexisting exactly during...

he"Bian Wen "of Dunhuang is always an important subject for Dunhuangstudies,which has continued to draw attention of many scholars and great progress hasbeen made recently,However until now,many basic problems still had not been solved.What the”Bian Wen"is,in fact,is still very confused.I think that this phenomenon is aresult that many scholars used to have a false theory about to guard their studies. Previ-ously,scholars always thought”Bian Wen"was a kind of literary form,that was foundexisting exactly during the stage of folk literature in the period of the Sui and Tang Dynasties. But I found ,that the works of the”Bian Wen”themselves have manv dif-ferences in creative methods and revealing appearences each other. So we can not saythat these works of”Bian Wen”belong to a same kind of literary form. On these sur-roundings,I think that the reason why during these years,problems such as what is the“Bian Wen”is still confused. After a careful investigation,the conclusion can be reachedthat in fact the”Bian Wen”is not a certain kind of literary form at all,it is only a cre-ative method,which was also used in mant kinds of later folk lihteratures,Of course.thiskind of creative method was extensively used in the period of the Sui and Tang Dynas-ties,this is the reason why we can find many works of such literature in Dunhuang em-ploying this method.On the other hand,this kind of method still takes a very importantrole in folk literature afterwards,not only in the”Bian Wen”of Dunhuang.

敦煌变文新论陈海涛(兰州大学历史系)敦煌遗书中被人们称之为“变文”的俗文学作品,最先引起中外研究者的广泛注意,由此引发的争论也最为激烈。正如美国学者梅维恒所说:“我一接触变文这门学问,便吃惊地发现尽管变文极其重要,但几乎在有关变文的各个方面,都存在着...

The paper presents a stylistic study of Hemingway's Soldier's Home. An analysis of the author's syntax, vocabulary, foregrounding devices, methods of thought presentation, and his dialogues shows how dcsely literary form is related to content. His style is not merely part of some literary experiment, but "the essential part of his attitude toward life".

本文从文体学的角度分析海明威的短篇小说《士兵的家》的写作手法。从句法、用词、重复等“突出”手段的使用、表达内心思想活动的方法和对话分析入手,说明文学形式与内容的有机联系。海明威的文体风格和他的作品的主题思想、人物性格密切相关。他的文体不仅仅是某种文学试验,而是“他的生活态度的本质部分”,同时也反映了他成为成熟作家的那个时代的特征。

 
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