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prose
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  散文
     The Modernity Imagination of Chinese Prose Theory
     中国散文理论的现代性想象
短句来源
     The Study of Non-fictional Prose in Wei and Jin Dynasties
     魏晋散文研究
短句来源
     Study on Chinese Travel Notes Prose of the 20th Century
     20世纪中国游记散文研究
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     A Study on Bai Juyi's Prose
     白居易散文研究
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     The Study of Prose in the Northern Dynasties
     北朝散文研究
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  散文的
     Artistic Forms and Development of Chinese Modern Lyric Prose
     中国现代抒情散文的艺术构成及其发展(一)——现代抒情散文的抒情方式辨类
短句来源
     Artistic Forms and Development of Chinese Modern Lyric Prose(2)
     中国现代抒情散文的艺术构成及其发展(二)──现代抒情散文的艺术发展
短句来源
     Exploration on the life’s meaning and value is an important topic of contemporary prose.
     对人生的意义与价值的探索是现代散文的一个重要主题,这一类散文称为“人生美文”。
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     Blending of Contemporary Prose with Traditional Culture
     试论传统文化与现当代散文的融合
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     On the “Feminine Prose” in Chinese Literature of the New Period
     世纪之交中国散文的一道绚丽风景——新时期文学中的“女性散文”
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  “prose”译为未确定词的双语例句
     Ancient Chinese Prose Teaching and Humanistic Spirit Education
     古文教学与人文精神教育
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     s: There is a poem which is named Shangqingbaoding (《上清宝鼎诗》) in Poetical and Prose Writings Out of Collection (《集外诗文》) of Collection of Li Bai's Poems (《李白集》).
     现在通行的《李白集》中 ,一般在集后《诗文拾遗》或《集外诗文》中皆以宋代黄伯思《东观馀论》所记为据 ,录有《上清宝鼎诗》一首 ,作为李白之佚诗。
短句来源
     Based on them, the artistic methods adopted by allegoric prose in Tang Dynasty canbe summarized “yiqianyushen”(以浅喻深), “yishimingli”(以事明理), and“jiegufengjin”(借古讽今).
     根据讽谕文的这三大特征,唐代讽谕文采用的主要艺术手法可概括为“以浅喻深”﹑“以事明理”﹑“借古讽今”三种。
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     On the "可得而V" Used in the Prose of Pre-Qin Period
     先秦时代“可得而V”式考释
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     A Pragmatic Study on the Reading Comprehension of Modern Chinese Prose in EEC
     高考语文现代文阅读理解的语用学研究
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  prose
Many works focused on the subject do not go much beyond a general description of the etymological origins of Chinese idiomatic expressions or the significant aesthetic or rhetoric value that such idioms may have in Chinese prose.
      
The analysis suggests that the epitaph of Onesimos the son of Kallisthenes is a metric epigram cast in two iambic trimesters and not a prose inscription as has been previously believed.
      
In all three areas, it is possible to trace a growing "literarization" that resulted in the emergence of a so-called ornate prose style that came to dominate Arabic epistolography in the 4th/10th century.
      
Ibn al-Muqaffa' was a pioneer in the introduction of literary prose narrative to Arabic literature.
      
He paved the way for later innovators such as al-Hamadhānī and al-Saraqustī, who brought literary fiction to Arabic literature by adapting traditionally accepted modes of oral narrative transmission into literary prose.
      
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As an effort to trace the fu, parallel prose, down to its origin, this article concentrates on the following three propositions.1. As two different literary genres, "parallel prose" and "poem" were first mentioned together in Poems of Chu towards the end of Zhou Dynasty.2. At that time, "parallel prose" stood for the appellation of a literary form, containing two indications, "recitation" and "elaboration".3. Parallel prose originated from Zhou Dynasty enigmatic language. Xun Kuan's parallel...

As an effort to trace the fu, parallel prose, down to its origin, this article concentrates on the following three propositions.1. As two different literary genres, "parallel prose" and "poem" were first mentioned together in Poems of Chu towards the end of Zhou Dynasty.2. At that time, "parallel prose" stood for the appellation of a literary form, containing two indications, "recitation" and "elaboration".3. Parallel prose originated from Zhou Dynasty enigmatic language. Xun Kuan's parallel prose stemmed from a particular kind of enigmatic language in which the subject was conveyed through metaphors, whereas Song Yu's from another kind in which the subject was brought home by banter. The two can be traced down to the same origin. But on the other hand, Xun's parallel prose emulated The Poems, while Song's took Poems of Chu as the standard, thus resulting in enormous difference in both content and style. As a consequence, the two styles of parallel prose, the Northern Style and the Southern Style came into being, with Xun and Song as predecessors respectively.

本文论赋体起源,主要提出三点看法: 其一,作为两种不同的文体名称,“赋”与“诗”相提并论始见于周末“楚辞”。其二,周末以“赋”命体的本义是“口诵”与“铺陈”的合二为一。其三,赋体源本先秦隐语。荀况赋出于隐语“隐谲示意”的一路,宋玉赋出于隐语“悦笑取讽”的一路,总其归途,实相枝干。同时,由于荀赋准的《诗经》,宋赋规模“楚辞”,故两者风神迥异,同源分流,开赋家南北二宗。

Rhythm can either suggest a certain aspect, or create a certain situation. or reinforce and produce a required effect. Hence, most writers are specialis- ts in achieving certain rhythms through parallelism, antithesis, and varying centence lengths. The present essay takes a close look at how parallel stru- ctures, antitheses, and varying sentence lengths in English prose contribute to the effect of the words.

本文着重探讨英文散文中的排比,对偶,短句和长句等表达形式所表现出的语言节奏特色, 以及它们对窗帘所起的烘托、渲染、增强或补充的作用。

Zhuang Tzu is China's first prose work with a fairly complete artistic structure. This paper expounds the three major forms of structure in Zhuang Tzu's prose, i. e. , the "parallel succession" , "multi-branches from one trunk" , and "chain links" . The relationship of the three is a relative independence and a relative unity, which lead to a complex and three-dimensional artistic entity. As a consequence, Zhuang T zu is characterisitic of being pregnant with allegoric morals, of its boundless volume...

Zhuang Tzu is China's first prose work with a fairly complete artistic structure. This paper expounds the three major forms of structure in Zhuang Tzu's prose, i. e. , the "parallel succession" , "multi-branches from one trunk" , and "chain links" . The relationship of the three is a relative independence and a relative unity, which lead to a complex and three-dimensional artistic entity. As a consequence, Zhuang T zu is characterisitic of being pregnant with allegoric morals, of its boundless volume and capacity, and of its extraordinary aesthetic effects. Its appearance after a long-time development of China's literature symbolized the evolution of the classic prose from the simple "analects" form to an entirely new style which laid emphasis on inner relation and a compact structure.

《庄子》是我国古代第一部艺术结构比较完整的带文著作。本文主要论述庄子散文有三种不同的结构方式,即“并列相承式”,“一本多茎式”和“链式”。这三种方式既相对独立又相对统一,构成了一个立体化,复合式的艺术整体,从而使《庄子》得以充分显示“寓言十九”的特征,海负山涵的容量及其独特的美学效果;标志着古典散文经过长期的发展,已从简单的语录体演进为讲究内部联系,追求结构严谨的新文体。

 
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