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form of art
相关语句
  艺术形式
    In February 1932 Pearl S. Buck delivered two speeches at the convocation of the North China Union Language School, later published under the titles of " East and West and the Novel" and " Sources of the Early Chinese Novel". The two speeches tried to prove the independent existence of Chinese novel as a form of art and identify its "sources," not in and by novel writing itself as in the West, but in the Chinese culture and tradition.
    赛珍珠在1932年2月所作的两场报告中,通过比较中西方小说的异同,试图证明在西方人眼里缺乏形式的中国小说其实具有独特的、和西方小说截然不同的艺术形式,并且试图从中国文化里挖掘这种形式的"渊源"。
短句来源
    Thus, the intercultural poetical aesthetics, positivism and the form of art deserve our full attention in a stuy of poetics.
    互文性理论要成为一种诗学研究,应该充分关注跨文化间的诗意意识、实证研究和艺术形式等因素。
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  “form of art”译为未确定词的双语例句
    Gitanjali> that won Nobel Prize for Rabindranath Tagore is a collection of poems of representative significance created by Rabindranath Tagore to have religious and philosophical search by form of art.
    泰戈尔的一生 ,可以说是对宗教问题不断进行思考和探索的一生 ,而《吉檀迦利》就是他通过艺术手法进行宗教哲学探索的一部具有代表性的诗集。
短句来源
    In today's overwhelming tide of globalization, literature, as one form of art, maintains its verified forms and pluralistic colouring.
    文学这门艺术在当今势不可挡的“全球化”浪潮中仍可持其形形色色、气象万千之缤纷 ;
短句来源
    Resorting to Oscar Wilde's and James's idea of the relationship between art and morality, it shows how the aesthetic tendency to shape life in the form of art can be morally dangerous when it conflicts with freedom.
    王尔德和詹姆斯关于艺术与生活的关系的理论,指出那种试图将生活纳入到艺术的完美形式的唯美主义倾向必将与自由冲突;
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  form of art
This article addresses the portrait as a philosophical form of art.
      
The poem presents a well-crafted piece of legal rhetoric in the form of art.
      
In Austria a very distinctive form of Art Nouveau-Jugendstil developed.
      
It is hard to think about any form of art, scientific endeavor, or private life that is not somehow represented on the web.
      
Discussions of how we protect as well as understand this very public form of art has generated new interest in this overlooked resource.
      
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Gitanjali> that won Nobel Prize for Rabindranath Tagore is a collection of poems of representative significance created by Rabindranath Tagore to have religious and philosophical search by form of art. This collection of poems reflects the lively personified relations between "finiteness" and "infiniteness" and a "perfect relationship of love" between the human beings and divinities.

泰戈尔的一生 ,可以说是对宗教问题不断进行思考和探索的一生 ,而《吉檀迦利》就是他通过艺术手法进行宗教哲学探索的一部具有代表性的诗集。《吉檀迦利》表现了“有限”与“无限”之间活生生的人格关系。神具有“无限”的性质 ,人是“有限”的 ,人与神之间的关系是一种“完美的爱的关系”。

Literary aethetics is the study of perceptiveness to the beauty in language, The diversity in individual perceptiveness and the diversified cultural codes developed in various time and space constitute the root of the otherness in human production of literary works. In today's overwhelming tide of globalization, literature, as one form of art, maintains its verified forms and pluralistic colouring. Science, economy and globalization to a certain extent, will not, by nature, develop in direct proportion...

Literary aethetics is the study of perceptiveness to the beauty in language, The diversity in individual perceptiveness and the diversified cultural codes developed in various time and space constitute the root of the otherness in human production of literary works. In today's overwhelming tide of globalization, literature, as one form of art, maintains its verified forms and pluralistic colouring. Science, economy and globalization to a certain extent, will not, by nature, develop in direct proportion with perceptive aesthetics toward uniformity. In the absolute sense, it is impossible for aesthetics to be globalized or to become universally identical.

文学美学是一种美文字感性学。个体人的感觉多样性和不同时空中形成的文化代码多样性 ,是人类世界美文字之间差异性的根由。文学这门艺术在当今势不可挡的“全球化”浪潮中仍可持其形形色色、气象万千之缤纷 ;科学、经济甚至社会某种程度的“全球化”与美学 (感性学 )在本质上并非成正比地同步演化。在绝对意义上 ,作为感性学的美学之“全球化”,“普同化”都是不可能的。

In February 1932 Pearl S. Buck delivered two speeches at the convocation of the North China Union Language School, later published under the titles of " East and West and the Novel" and " Sources of the Early Chinese Novel". The two speeches tried to prove the independent existence of Chinese novel as a form of art and identify its "sources," not in and by novel writing itself as in the West, but in the Chinese culture and tradition. This reflects Buck's attitude towards the " form" of the Chinese...

In February 1932 Pearl S. Buck delivered two speeches at the convocation of the North China Union Language School, later published under the titles of " East and West and the Novel" and " Sources of the Early Chinese Novel". The two speeches tried to prove the independent existence of Chinese novel as a form of art and identify its "sources," not in and by novel writing itself as in the West, but in the Chinese culture and tradition. This reflects Buck's attitude towards the " form" of the Chinese cultural heritage, the attitude in turn comes from her speculation on the " form" of the mentality of the Chinese intellectual at the time, which reveals itself in the intellectuals' reevaluation of the Chinese national character and the world view as an effort to designate a position for China in a critical moment of its development. Buck's portrayal of the Chinese life may be limited, but her effort to form the formless, be it the Chinese novel or the Chinese culture, deserves our admiration. 

赛珍珠在1932年2月所作的两场报告中,通过比较中西方小说的异同,试图证明在西方人眼里缺乏形式的中国小说其实具有独特的、和西方小说截然不同的艺术形式,并且试图从中国文化里挖掘这种形式的"渊源"。赛珍珠对中国小说形式的讨论反映出她对中国传统文化"形式"的态度,是她对中国知识分子思想和心态的理解和思考,对20世纪上半叶中国知识界对中国传统文化进行重新定位、对中国文化何去何从这个严肃的问题进行的思考。尽管赛珍珠的主张并不一定具有典型性,她本人对中国文化的看法也有简单化理想化之嫌,但是今天重读赛珍珠的这两篇讲话无疑有助于我们更好地把握自己的文化。

 
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