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language and form
相关语句
  语言与形式
     The language and form should be the goal of the literary creation, regard the literature text as a structure sealed independently completely, has abandoned the literature connection with society, history, life.
     它倡导文学以语言为本,以形式为本,语言与形式应是文学创作的目标所在,完全把文学文本看成一个独立封闭的结构,抛弃了文学与社会、历史、人生的联系,从而以审美的形式化为特征把人的感性力量推向极致。 值得反思的是,这两股思潮在对立、冲撞中不断地确认着人的感性力量,以致于最终走向极端与错位。
短句来源
     The formal sense of the material and craft not only advantages teh harmony of the mural language and form, but also makes a closer combination with the space surrounding where the mural exists.
     材料与工艺的形式感不仅有利于壁画语言与形式的和谐,同时也与壁画所存在的建筑空间环境形成更为亲和的一个结合体。
短句来源
     Modernist philosophical assumption and aesthetic practice have undermined the traditional theory of representation and highlighted the core position of language and form.
     现代主义的哲学假设与美学实践颠覆了传统再现说,突出了语言与形式的核心地位。
短句来源
  “language and form”译为未确定词的双语例句
     Editor's notes: At the present time, the boundary of sculpture arts is gradually broken, the traditional concept of sculpture is subverted, the language and form of sculpture has undergone a fundamental change, new materials and technologies are constantly used for creation practice of sculpture arts, and the use of available articles also enrich sculpture creation.
     现当代,雕塑艺术的边界被逐渐打破,传统的雕塑概念被颠覆,雕塑的语言、形式较之以前发生了根本性的变化,新的材料和技术不断地被运用到雕塑艺术的创作实践中,现成物品的利用也丰富了雕塑的艺术创作。
短句来源
     And these three elements of context determine in turn the ideational, interpersonal, and textual meanings of a text which correspond with the three metafunctions of a language and form the meaning potential.
     三者分别决定话语中语言三大元功能所对应的概念意义、人际意义和语篇意义,从而形成一种语言潜势并通过及物性系统、语气与情态系统以及主位结构的选择来最终实现为词汇语法层面的具体语言形式。
短句来源
     RAISE is a series of tools and convert technology on this kind of specification language and form a very rigorous approach.
     RAISE(Rigorous Approach to Industrial Software Engineering)是在一个广谱的规约语言的基础上,提供一系列工具和转换技术,形成一种开发软件的严格方法。
短句来源
     The author argues that in order to keep up with the latest developments in artistic design the designer should combine traditional forms and modern design concepts while retaining design language and form unique to his own nation against the macro-background of decoration culture.
     当代艺术设计的发展,既要注重传统长势形式同现代设计观念的有机结合,又要注重探讨在装饰文化的大背景下保持各自特有的语言和方式。
短句来源
     The unrestrained use of language and form has revealed the existence experience in individuals.
     语言形式的狂欢宣泄了个体独特的生存体验。
短句来源
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  相似匹配句对
     of language.
     通过语言可以研究文化,通过文化可以研究语言。
短句来源
     G Language
     G语言
短句来源
     ERP AND LANGUAGE
     ERP与语言研究
短句来源
     Language and the brain
     语言与大脑
短句来源
     The Formal "Language"
     有形的“语言”
短句来源
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  language and form
The language and form of the presentation of the report is generally easier to understand and interpret than conventional research reports.
      
Similarly, in a research prototype, the code is in whatever language and form the developer prefers.
      


Almost all the inscription on bronze mirror of the Han Dynasty are written in poetic language and form,among which one is complete"seven syllable"verse.The formation of seven syllable verse that inscribed on bronze morror can be traced back as early as the mid Western Han Dynasty.This verifies the fact that there were rapid development of "seven syllable"style at that time and negates the saying that "there seemed no relable or complete "seven character"ballads before the Han Dynasty".The formal characteristics...

Almost all the inscription on bronze mirror of the Han Dynasty are written in poetic language and form,among which one is complete"seven syllable"verse.The formation of seven syllable verse that inscribed on bronze morror can be traced back as early as the mid Western Han Dynasty.This verifies the fact that there were rapid development of "seven syllable"style at that time and negates the saying that "there seemed no relable or complete "seven character"ballads before the Han Dynasty".The formal characteristics of "seven syllable"verses inscription indicates that it was experiencing a transitional phase from ballads to the imitative works of literati.It is the product of ballads variation featured by seven syllable syntax.

汉代铜镜铭文中存在着数量可观的“七言体”形式。其特点是 :整齐的七言句式 ,注意到了用韵 ,结构完整 ,在音顿、节奏等方面与传统七言诗相同。据此认为 ,汉代七言体铜镜铭文即是完整的七言体诗歌。汉代铜镜铭文七言诗形成的时间可以上溯至西汉时期 ,由此否定了“可靠的完整的七言歌谣在汉以前似还无有”的结论。汉代铜镜铭文七言诗在形式上的特点 ,标志着它正处在七言诗由民间歌谣向文人创作发展的过渡阶段。

Based on the analysis of the function of the character arrangement of "talented scholars and beauties",the narrative form of peasant's oral language,and the structural form of narration-and-comment style of Xiaoerhei Jiehun ,and though elaborating the restricted relation of language and form to writing ,the paper reveals a paradox that the text intends to express an anti-feudal theme through the use of a form full of feudal elements but obtains just the opposite result.

文章从《小二黑结婚》的“才子佳人”人物配备模式、农民化口语的言说模式和评传说书体结构模式的功能分析入手,通过阐述语言和模式对创作的制约关系,提示出该文本以包含封建性因素的形式去表达反封建主题而结果适得其反的悖论所在。

Literary form ontology directly stems from the debate of literary form ontological criticism, claiming that text, language and form constitute the socalled literary ontology. The literary form ontology found its way into the theoretical criticism of the new era with a vigorous drive, once becoming a decisive valuedimension dominating literary creation and criticism. Briefly speaking, literary form ontology undertakes three phases: work ontology criticism, work form ontology and text...

Literary form ontology directly stems from the debate of literary form ontological criticism, claiming that text, language and form constitute the socalled literary ontology. The literary form ontology found its way into the theoretical criticism of the new era with a vigorous drive, once becoming a decisive valuedimension dominating literary creation and criticism. Briefly speaking, literary form ontology undertakes three phases: work ontology criticism, work form ontology and text form ontology.In the early new era, people began to question the onceprevalent socialideological oriented criticism which simply reduced literature to nothing but the slave and instrument of politics, proposing a fundamental opposition between the literary (poetic) use of language and the practical use of language. Some proponents and elaborators of literary form ontology, represented by Liu Zaifu, Sun Ke and Chen Xiaoming, viewed literary text as an existence independence of social and ideological values. Among literary form ontological developments are two prominent models. One is the work form ontology, which investigates the formal features inherent in a specific work, thinking that the work form ontology is built upon its concrete form essentials. But it remains controversial to clearly define which form can constitute the literary ontology. The other one is the form ontology, which endows forms with a superorganic value, viewing the abstract form as the ontology of the literature. The form ontology is represented by three prominent ideas: one is represented by Li Jie, Tang Yue, Tan Xuechun and so on, who conceive language to be selffocused; the second represented by Chen Guofeng who stresses the meaning and value of literary work in itself, but insists on subject matter being contained in form and literary ontology in form; the third represented by Yu Zhaoping who spurns the subject matter and views pure form as the literary ontology.It cannot be denied that the literary form ontology, owing to its concern with the liteariness of literature, with the foregrounding of new ideas and new visions and with the aesthetic features of literary forms in the literary criticism, is conducive to the reexamination of the formandsubject relation and the reestablishment of a justifiable formsubject view. However, the literary form ontology fails to recognize the dialectic relationship between form and subject, splits the organic tie between the inner and the outer and onesidedly stresses the superiority of form over the subject. As a result, the advocacy and practice of literary form ontology will inevitably have some negative effect upon theoretical research and creative practice.

主张作品、语言、形式即文学本体之所在的文学形式本体论,进入新时期理论批评视野后,一度成为文艺的一个重要价值取向。它经历了作品本体论(视文学作品为一个具有独立存在意义的本体)、作品形式本体论(将文学本体归结为作品的某种形式因素)和形式本体论(以抽象的形式为文学本体)的发展轨迹。文学形式本体论在提供文学基本特征研究的新视角、丰富文学理论的概念与术语、重视文学作品本身尤其是作品的艺术形式等方面具有合理性,有助于理论批评界克服过去在内容与形式关系认识上的机械化、简单化倾向,树立正确的形式—内容观。但它也存在着诸如割裂文学"内部规律"与"外部规律"的有机关联,片面强调形式甚或纯形式价值等方面的理论缺憾。

 
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