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classical   poetry
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  相似匹配句对
     On the Intranslatability of Chinese Classical Poetry
     论英译中国古典诗歌的不可译性
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     New Approach to Classical Poetry
     努力开拓古典诗歌研究的新途径——以《古体诗歌艺术研究》为中心探讨
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     Poetry
     诗
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     conclusion  ①.
     结论  ①.
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     kishidai Nakamura and G.
     kishidaiNakamura、杨谷舟蛾G.
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Through the analysis of the Movement to Revive the Song Poetry in the Qing Dynasty in various perspectives,this paper tries to find out the features of the theory of Chinese classical poetry reflected in this movement.It maintains that the Movement has adopted the flexible and lively poetic system of the Song poetry and that its theory is a renewal as well as a condensation of Chinese classical poetics,which is...

Through the analysis of the Movement to Revive the Song Poetry in the Qing Dynasty in various perspectives,this paper tries to find out the features of the theory of Chinese classical poetry reflected in this movement.It maintains that the Movement has adopted the flexible and lively poetic system of the Song poetry and that its theory is a renewal as well as a condensation of Chinese classical poetics,which is saturated with feudal moral principles on poetry and handled with the classical poetic paradigm.it aims at the refined personality,expresses the nature of poetic beauty,follows the norm of poetic composition and at the same time tries to be experimental and creative.It advocates“Learn from the past to enrich oneself;read to improve the expressive ability in composing poems,”and constructs the theoretical pattern of“combining the verses of the scholar with those of the poet.”It also displays the aesthetic charm of uniting personal character with artistic style,inspiration with scholarship,the Tang poetic style with the Song poetic style,and verse with prose.

本文从多种角度来考察清季宋诗运动的理论意义,由此探寻古典诗学重要特征。认为,宋诗运动选择了富有变化的活性的宋诗诗艺体系既是古典诗学的更新,又是古典诗学的凝聚。其诗论深濡封建义理诗教,操握古典诗艺法式;追求脱俗人格,表现诗美本色;顺应诗歌的表现惯例,又力求诗艺的通变创新;学古以丰富养份,读书以修炼诗式,建构起“学人之言与诗人之言合”的理论框架,体现了集人品与艺品、才情与学理、唐诗与宋诗、诗歌与散文为一体的美学意趣。

Aesthetic transference and distance are the two main aesthetic psychology of human aesthetic feeling. A good understanding of them is helpful to precisely grasp the aesthetic processes of Chinese classical poetry and to analyse and appreciate them better.

审美移情和审美距离,是人类审美情感中两种主要的审美心理。所谓审美移情,是以对审美对象的感知为基础的,即把主观情感转移到所感知的客观事物中;所谓审美距离,是指审美观照和审美欣赏必须与审美对象保持一定的距离,这一定的距离,就是一种“若即若离”的关系。审美移情具有三种形式:接近移情、比喻移情和对比移情;审美距离具体表现为空间距离、时间距离和时空距离。认识和理解审美移情和审美距离,对于准确地把握中国古典诗歌的审美情感过程,对于分析和鉴赏中国古典诗歌,不无裨益。

AbstractThe Chinese classical poetry craze in the end of 20th century showed a flourish of aesthetic judgment of the masses.But it also had some weaknesses:being mediocre individually and microcosmically though magnificent in scale,being to some extent lethargic in style though experienced in the writing technique ,and being weak in aesthetic force though elegant in printing and ornate in diction.The question before us is how to create the real masterpieces in the appreciation of classical...

AbstractThe Chinese classical poetry craze in the end of 20th century showed a flourish of aesthetic judgment of the masses.But it also had some weaknesses:being mediocre individually and microcosmically though magnificent in scale,being to some extent lethargic in style though experienced in the writing technique ,and being weak in aesthetic force though elegant in printing and ornate in diction.The question before us is how to create the real masterpieces in the appreciation of classical poetry?

20世纪末叶的中国古典诗词鉴赏热势头异常强劲,显示出群体审美生命汇聚成的大格局,大气象,同时也暴露出自身的缺憾:鉴赏阵容宏观上的波澜壮阔,挟裹着鉴赏个体微观上的勉强平庸;趋于成熟的老辣硬朗的鉴赏风格,也若淡若浓地染了些秋老叶黄的暮气;似乎造得圆熟精美、辞采翩翩的鉴赏文本,总是激荡不起强悍的审美冲击力。面对烟花爆竹一般骤然响彻又归于沉寂的鉴赏热,值得追问的是:如何才能造出无愧于中国诗词鉴赏史的名赏和大赏?

 
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