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    Compared with the reappearance of poetry reflection theory of Marxism and the pursuit of image cognition of subject to object, MAO Zedong's theory of reflection on art and literature lays more emphases on the “sense of interest” than on the imitation of formal likeness of Chinese ancient poetry.
    与马克思主义诗学反映论的重再现、追求主体对客体的形象认识相比较,毛泽东的文艺反映论虽然也着眼于形似的模仿成分,但更多地是中国古代诗学的“感兴”意味;
短句来源
    Although the theory involves the image cognition of subject to object, it greatly emphasizes the mood and emotional experience of the subject(writer) as the “spokesman” of object(people) in the assimilation process.
    虽然也讲主体对客体的形象认识,但更强调在主客体的同化中主体(作家)作为客体(人民)的“代言人”的情绪和情感体验;
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    The folk custom psychology of acceptance subject has selective,attaching and assimilative function to the aesthetic object——-it is the approval or rejection or absorption of the subject to the object.
    接受主体的民俗心理对审美客体有筛选和吸附、同化功能,即主体对客体的认同或排斥或吸收。
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  “subject to”译为未确定词的双语例句
    The transference of artistic ideorealm in the translation of classical Chinese poetry is a very significant yet rather difficult subject to be explored.
    中国古典诗词翻译中的意境移植问题是一个很重要但相当难以探索的领域。
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    Yexie considered that the essence of art was the interaction of "Qi" from aesthetic subject to object.
    在叶熨看来,艺术的本质在于主客体之“气”的交互作用。
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    There was not a "rule" in art creation except his aesthetic subject to object theory.
    在创作中应该以主客体理论为标准,除此以外没有单独的“法”可言。
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    The last part touched upon Yexie's status in the aesthetic history Yexie's theory of aesthetic subject to object surpassed his period and was still worth studying today by praising highly both the aesthetic subject and reason.
    第五部分叶类的美学史地位 叶曼的审美主客体理论对审美主体与艺术理性的推崇不但超越了他所处的时代,而且在当代仍然具有启示意义。
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    It's a new and interesting subject to study TE from the perspective of female image, which deserves a systematic and theoretical exploration.
    从文学作品中“女性形象”的角度研究“翻译对等”是一个崭新而有趣的课题,值得进行系统深入的理论研究。
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The system is subject to failure and it fails once the total cumulative damage level first exceeds a fixed threshold.
      
The design that is subject to this criterion satisfies many kinds of linear optimal criterion and D-optimal criterion on several experiment models at the same time.
      
This paper deals with the blow-up properties of solutions to the systems ut=Δu,vt=Δv in BRX(0,T) subject to nonlinear boundary conditions , in SRX(0,T).
      
An algorithm is derived for determining such a set of perturbation polynomials which are subject to certain constrains at the endpoints of a prescribed parametric interval and minimized in a certain sense.
      
This formulation is uniformly coercive and not subject to the Babu>amp;gt;ska-Brezzi condition, and the resulted linear algebraic system is positive definite with the spectral condition number O(h-2).
      
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As a new perspective in literary criticism, a new critical methodology,or an interpretive strategy, new historicism has been subject to heated debates, out of which a discursive proliferation is still going on. This theoretical critique attempts to approach new historicism in three rudimentary aspects, the displacement of the traditional historical outlook; the penetration of paradigms of literary discourse into historiography; and the "negotiation" within literature between historical reality and ideology....

As a new perspective in literary criticism, a new critical methodology,or an interpretive strategy, new historicism has been subject to heated debates, out of which a discursive proliferation is still going on. This theoretical critique attempts to approach new historicism in three rudimentary aspects, the displacement of the traditional historical outlook; the penetration of paradigms of literary discourse into historiography; and the "negotiation" within literature between historical reality and ideology. Instead of returning to the historical reality as is often alleged,neo-historicism produces yet another interpretive text of the ever-lost History.

新历史主义作为一种新的文学批评视角,一种阐释文学文本的历史内涵的特定的方法论,近年来颇受到西方文论界的重视。本文拟从传统历史观的颠覆、文学话语方式对历史话语的制约和渗透以及文学中所表现的历史现实与意识形态的互相塑造等三个方面对新历史主义批评作一个基本的把握,并试图从理论与实践的结合上对这一批评作出评判:新历史主义的批评并不能实现历史现实的回归,它只能提供对历史的又一种阐释。

writing behaviour and creative behaviour are of different kinds:First, utility practical motive with definite purpose are two outstanding characteers of writing behaviour;but for creative behaviour, the most important featured are non -purpose character, aesthetic character with free creative motive.Second, wtiting behaviour stresses in right style,in a certain process and standard.But as creative behaviour ,it pays more attention to continuously innovation and less important to the style.The key to creative...

writing behaviour and creative behaviour are of different kinds:First, utility practical motive with definite purpose are two outstanding characteers of writing behaviour;but for creative behaviour, the most important featured are non -purpose character, aesthetic character with free creative motive.Second, wtiting behaviour stresses in right style,in a certain process and standard.But as creative behaviour ,it pays more attention to continuously innovation and less important to the style.The key to creative behaviour is "feeling".In essence, creation cannot be taughted or leamed.Last, in writing, practical thinking, rational thinking and utility consciousness are more strressed. Creative text must meet the neesds of contents and be subject to it .But creative behaviour mostly depends on aesthetic thinking, with homoorganicity between context and structure of the text form a implicatrue.

写作行为和创作行为是不同的两种行为:一、功利实用性的写作心态和明确的目的性是写作行为非常突出的特征;创作的非目的性、审美性、自由的创作心态是创作行为的重要特质。二、写作行为讲究文章合体,操作上有一定的工艺程序性、规范性;创作则要求时时创新,体式不是最重要的,关键在乎情,创作从根本上来说不可教不可学。三、写作行为偏重于实用思维、理性思维和功利意识,文本上形式服从内容的需要和支配;创作行为主要依仗审美思维,文本上内容和结构同构,形成一种有意味的暗示。

Compared with the reappearance of poetry reflection theory of Marxism and the pursuit of image cognition of subject to object, MAO Zedong's theory of reflection on art and literature lays more emphases on the “sense of interest” than on the imitation of formal likeness of Chinese ancient poetry. Although the theory involves the image cognition of subject to object, it greatly emphasizes the mood and emotional experience of the subject(writer) as the “spokesman” of object(people) in the assimilation...

Compared with the reappearance of poetry reflection theory of Marxism and the pursuit of image cognition of subject to object, MAO Zedong's theory of reflection on art and literature lays more emphases on the “sense of interest” than on the imitation of formal likeness of Chinese ancient poetry. Although the theory involves the image cognition of subject to object, it greatly emphasizes the mood and emotional experience of the subject(writer) as the “spokesman” of object(people) in the assimilation process. Although it involves the truthfulness of image cognition, it pays much attention to the correctness of mood and emotional tendency. Thus, the greatest contribution of Mao Ze dong is to make it endowed with Chinese national form and emphasize the sense of feeling of art reflection.

与马克思主义诗学反映论的重再现、追求主体对客体的形象认识相比较,毛泽东的文艺反映论虽然也着眼于形似的模仿成分,但更多地是中国古代诗学的“感兴”意味;虽然也讲主体对客体的形象认识,但更强调在主客体的同化中主体(作家)作为客体(人民)的“代言人”的情绪和情感体验;虽也涉及形象认识的真实性,但更侧重于情绪情感倾向上的正确性。因此,毛泽东对文艺反映论的主要贡献是赋予其以中国化的民族形态,强调文艺反映的情感性

 
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