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literary perception
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  文学感知
     A Reason-and-moral-based Literary Perception of Song Yu's Shennü-fu in the Post-Jiuge Age——A Combination of Inheritance and Betrayal after Qu Yuan
     后《九歌》时代的《神女赋》——在继承和背叛中基于理性与道德的文学感知
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  相似匹配句对
     Literary translation is a special perception of the subject.
     文学翻译是一种独特的主体感受活动。
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     Conflicts in Perception Between Literary Translators and Writers
     译家与作家的意识冲突:文学翻译中的一个值得深思的现象
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     Perception of Self
     关于自我的认识
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     Heart and Perception
     心灵·感悟
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     On Literary Retranslation
     浅谈文学名著复译
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  literary perception
However, with the negritude movement, Africa was rehabilitated in the literary perception of Caribbean authors.
      


As a key critical term, defamiliarisation embodies the bulk of Russian formalism's theory of literary production and literary history. In this article, it is found to be sharing pretty much in common with Liu Xie's so called yin and qi. The author holds that the three critical terms all speak highly of ″roughened″, ″retarded″, or ″ambiguous″ aesthetic effects produced by warping and twisting the linguistic form in order to bring about a deautomization of literary perception, and, that they are all employed,...

As a key critical term, defamiliarisation embodies the bulk of Russian formalism's theory of literary production and literary history. In this article, it is found to be sharing pretty much in common with Liu Xie's so called yin and qi. The author holds that the three critical terms all speak highly of ″roughened″, ″retarded″, or ″ambiguous″ aesthetic effects produced by warping and twisting the linguistic form in order to bring about a deautomization of literary perception, and, that they are all employed, mainly, to help clarify the historical evolution of literature by delineating a historical trajectory along which different historically occasioned literary forms, genres and techniques develop and transform themselves. Theoretical and critical differences existing between defamiliarisation, yin and qi are also discussed against separate poetic backgrounds.

俄国形式派的关键性批评概念“陌生化”和《文心雕龙》中的“隐”和“奇” ,在涉及创作论、文学史观、文学自身形式演化等方面有颇多共通之处。从创作论角度出发 ,两者都强调文学语言形式的扭曲变形以达到或“阻滞”、“延缓” ,或“曲意幽隐”的审美效果 ,同时反对文学创作的习套化 ,并从文学体裁、技巧手法等形式因素的历史成因中去整体把握文学发展史的演进轨迹。其间所呈现出的一些差异 ,也都有着各自不同的诗学背景上的原因。

 
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