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   classical drama 在 戏剧电影与电视艺术 分类中 的翻译结果: 查询用时:0.007秒
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classical drama
相关语句
  古典戏曲
    A Further Argumentation of the Literary Phase and Non-Literary Phase in Classical Drama——A Response to Ankuis Criticism
    再论古典戏曲的文学阶段与非文学阶段——答安葵先生
短句来源
    The catalyzing of western drama to the"modernization/of Chinese classical drama advancement
    西方戏剧对中国古典戏曲“现代化”进程的催化
短句来源
    The second chapter discusses the image of "back garden" in Chinese classical drama.
    第二章:中国古典戏曲中的“后花园”意象。
短句来源
    The classical drama is the unique nationality artistic form of China,it develops the advancement inceasingly along with the time progress,moving towards "the modernization"step by step.
    古典戏曲是中国特有的民族艺术形式,它随着时代的进步不断发展推进,正一步步走向“现代化”。
短句来源
  古典戏剧
    Multi-orentional Paradigm· Narrative Representative Core· Suspense ──On the Formation of the Chinese Classical Drama from the Tayaoniang
    多元聚合·代言体叙事本位·悬置──论中国古典戏剧形成于“踏摇娘”
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  “classical drama”译为未确定词的双语例句
    Build the Classical Drama Space with the Modern Techniques
    用现代技术构筑古典演剧空间
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Taking Wang Guowei's theory of "opera performing history" to be one of the criteria,considering several viewpoints on the origin of Chinese classical drama,this paper holds that the formation of Chinese classical drama is a multi ─ orientional paradigm process from the outer shapes of performance to the marrative representative core. According to such a basic viewpoint, the Ta─yao─ niang can be regarded as a symbol of the formation of Chinese classical drama. Furthermore, the Ta ─ yao ─ niang's...

Taking Wang Guowei's theory of "opera performing history" to be one of the criteria,considering several viewpoints on the origin of Chinese classical drama,this paper holds that the formation of Chinese classical drama is a multi ─ orientional paradigm process from the outer shapes of performance to the marrative representative core. According to such a basic viewpoint, the Ta─yao─ niang can be regarded as a symbol of the formation of Chinese classical drama. Furthermore, the Ta ─ yao ─ niang's embarrassed suspense in the drama history threw it away from developing into the latter drama form ; but this can't deny its historical positon and significance.

本文以王国维“以歌舞演故事”为评判标准,观照中国戏剧 史上几种关于戏剧起源的说法,认为其形成是基于歌舞、表演的外在形 式向代言体叙事本位靠拢之上的多元聚合过程,据此,把“踏摇娘”作为 中国古典戏剧最初形成的标志,并进而认为,“踏摇娘”在戏剧史上尴尬 的悬置状态使它没能发展成为后世成熟的戏剧形式。但这一点并不能 否定“踏摇娘”在中国古典戏剧史上的地位和意义。

Ghost drama is a special farm of classical drama.It contains unique esthetic value.The image of the ghost with its queer character enriches the drama art.The more important thing is that it uses the ghost to reflect the wish which is oppressed.In order to reflect the deeply main topic:The reality of human is the existence of non-human,and the ghost enbodies that people hope far the freedom;The lasting enchantment of the ghost drama in that the abnormal image of ghost drama expresses the...

Ghost drama is a special farm of classical drama.It contains unique esthetic value.The image of the ghost with its queer character enriches the drama art.The more important thing is that it uses the ghost to reflect the wish which is oppressed.In order to reflect the deeply main topic:The reality of human is the existence of non-human,and the ghost enbodies that people hope far the freedom;The lasting enchantment of the ghost drama in that the abnormal image of ghost drama expresses the psychological prototype of unconsciousness in group.

 鬼魂戏是中国古典戏剧的一种特殊类别,具有非常独特的审美价值。鬼魂形象以幽邃奇异的"人物"丰富了戏剧艺术形象,更重要的是以鬼魂形象投射了人们被压抑的潜意识愿望;鬼魂戏以人与鬼的二元对立冲突表现出极为深刻的主题:人的现实是非人的存在,鬼才体现出人渴望的自由;鬼魂戏经久不衰的独特艺术魅力在于,它以鬼魂的非正常形象表现了"集体无意识"的原型心理。

This paper is a response to Anqui' s criticism of the author' s drama study as " being too far away from the practice". The author agrees that their difference does lie in the "distance" between their academic study and the practice. Ankui, on one hand, adhering plainly to the practice, fails to upgrade his study to the theoretical level and therefore lacks an academic spirit. On the other hand, he privileges "propagating the national culture" over "seeking truth" from the perspective of political pragmatism,...

This paper is a response to Anqui' s criticism of the author' s drama study as " being too far away from the practice". The author agrees that their difference does lie in the "distance" between their academic study and the practice. Ankui, on one hand, adhering plainly to the practice, fails to upgrade his study to the theoretical level and therefore lacks an academic spirit. On the other hand, he privileges "propagating the national culture" over "seeking truth" from the perspective of political pragmatism, thereby keeping insufficient distance from the subject of his study. This author argues once more that the classical Chinese drama, although originally similar to the European classical drama in terms of its literary nature, is always character-oriented rather than plot-oriented. This accounts for the reason why the classical Chinese drama has developed into a performance art.

安葵先生著文批评本文作者的戏曲研究“距实践太远”,两人的区别确实在他们的学术研究与实践的“距离”上。安葵一方面不能把研究上升到思辨的高度,其“理论”平庸地依附于“实践”,缺乏学术品格;一方面还服从政治实用主义的要求,把“弘扬”(民族文化)放在“求真”之上,缺乏与其研究对象的必要距离。其实,中国古典戏曲虽然曾经和欧洲古典戏剧一样是文学本质的戏剧,但前者始终是以“语言”描绘人物的艺术,而后者则始终是“情节”构建的艺术,这也是为什么中国戏曲最终嬗变成为表演本质的戏剧的道理。

 
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