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modern and contemporary chinese
相关语句
  中国现当代
    The writer of this paper makes an analysis and a summary of the accepting process the variation and the cause for the variation of Plekhanov's theory of artistic origin in modern and contemporary Chinese literature. The writer's analysis and summary is of great help to the understanding the accepting process of modern Chinese literary theory
    对普列汉诺夫的艺术起源说在中国的现当代文学理论界的接受过程和其间产生的变异及其原因进行梳理与总结,有助于了解普列汉诺夫的艺术起源观在中国现当代文论里的接受过程。
短句来源
    The influences have resulted in the facts that they presupposed the developmental course of modern and contemporary Chinese literature,the reception psychology of Chinese readership and even changed the cultural values of a certain generation to a certain degree.
    影响的结果是在一定程度上设定了中国现当代文学的发展轨迹和中国读者的接受心理,甚至在一定程度上改变了几代人的文化价值观。
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  “modern and contemporary chinese”译为未确定词的双语例句
    Imagism,greatly influenced by ancient Chinese poetry,dramatically came back to China several times and exerted great influence upon both modern and contemporary Chinese poetry.
    深受中国古典诗歌影响的意象派诗歌 ,曾先后几次反弹回中国 ,对中国诗歌产生了巨大的冲击和影响。
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  modern and contemporary chinese
A fundamental study of standard works and selected writings in the modern and contemporary Chinese literature.
      


Imagism,greatly influenced by ancient Chinese poetry,dramatically came back to China several times and exerted great influence upon both modern and contemporary Chinese poetry.We can find the shadow of imagism in poems of either HU Shi the pioneer of new poetry,Li Jin fa the symbolist poet,modern poet DAI Wang shu and BIAN Zhi lin,or "Nine Leaf Poets"in the 1940's and poets of obscurity in the 1980's.Ever since the beginning of the 20 th century,many Chinese poets began to...

Imagism,greatly influenced by ancient Chinese poetry,dramatically came back to China several times and exerted great influence upon both modern and contemporary Chinese poetry.We can find the shadow of imagism in poems of either HU Shi the pioneer of new poetry,Li Jin fa the symbolist poet,modern poet DAI Wang shu and BIAN Zhi lin,or "Nine Leaf Poets"in the 1940's and poets of obscurity in the 1980's.Ever since the beginning of the 20 th century,many Chinese poets began to translate,introduce imagism and make a survey of the mutual influence,similarity and difference between imagism and Chinese imagist poetry.

深受中国古典诗歌影响的意象派诗歌 ,曾先后几次反弹回中国 ,对中国诗歌产生了巨大的冲击和影响。无论是在新诗的开拓者胡适、象征派代表李金发和现代派代表戴望舒、卞之琳的作品中 ,还是在 2 0世纪 40年代的“九叶派”诗人和 80年代的朦胧诗人的作品中 ,无不隐约地闪现着意象派的影子。同时 ,自 2 0世纪初 ,许多诗人开始译介意象派。自 80年代起 ,我国学者还就中国诗歌与意象派的相互影响、借鉴以及差异进行了深入的探讨和研究

If we regard Shimazaki Toson’s poetry anthology Wakanashu (1897) as the beginning of Japanese modern poem and regard Dr. Hu Shi’s eight poems published in the magazine Xinqingnian in 1917 as the beginning of the Chinese modern poem, we can say that the exploring of Japanese modern poem has been started 20 years earlier than the Chinese counter part. However, though it is overstated if one says that in the previous century the comparison between these two histories of modern...

If we regard Shimazaki Toson’s poetry anthology Wakanashu (1897) as the beginning of Japanese modern poem and regard Dr. Hu Shi’s eight poems published in the magazine Xinqingnian in 1917 as the beginning of the Chinese modern poem, we can say that the exploring of Japanese modern poem has been started 20 years earlier than the Chinese counter part. However, though it is overstated if one says that in the previous century the comparison between these two histories of modern poems has been ignored, it can be said at least that the real exchange between the poets in these two countries is very rare. This has been changed until the recent Chinese translation of Tanigawa Shuntaro’s poems appeared. The principal aim of this paper is to compare the images of “trees” in the poems of Tanigawa and those of the ancient Chinese poet Qu Yuan as well as the modern and contemporary Chinese poets Ai Qing, Niu Han and Chen Dongdong. Through this, I try to find out the cultural differences between the two countries. Meanwhile, I would also like to make comparison between their texts, thus to try to outline the lyrical mode and the expressive way between the poets in these two countries. Furthermore I would also try to analyze the cultural similarities and conflicts in their texts.

近一个世纪以来,中、日现代诗的比较与交流到谷川俊太郎为止虽谈不上是盲区,但真正意义的交流并不多,那些具有普遍价值意义的日本现代诗人并没有成功地介绍过来,从而造成长时间彼此缺乏正确的认识。这篇论文立足于这一点,把谷川俊太郎的“几棵树”与中国古代诗人屈原的《橘颂》、贺知章的《咏柳》以及现代诗人艾青、牛汉、陈东东创作的与“树木”有关的诗歌进行比较,从中找出在不同文化背景下存在的异同点,并通过对具体文本力度强弱的比较分析,为中日两国现代诗的抒写情调和表现方法画下大致轮廓,使得中日现代诗复杂的成长过程和审美取向折射其中。文化和价值上的雷同和冲突,以及意义上的和谐和分歧也是这篇论文力求所阐述的。

Plekhanov's theory that art originates from labor was proposed on the basis of materialism.It was first introduced accepted and interpreted by Lu Xun et al.With its further combination with the actuality of modern Chinese literature it has now become an important component of modern Chinese literary theory.The writer of this paper makes an analysis and a summary of the accepting process the variation and the cause for the variation of Plekhanov's theory of artistic origin in modern...

Plekhanov's theory that art originates from labor was proposed on the basis of materialism.It was first introduced accepted and interpreted by Lu Xun et al.With its further combination with the actuality of modern Chinese literature it has now become an important component of modern Chinese literary theory.The writer of this paper makes an analysis and a summary of the accepting process the variation and the cause for the variation of Plekhanov's theory of artistic origin in modern and contemporary Chinese literature.The writer's analysis and summary is of great help to the understanding the accepting process of modern Chinese literary theory

普列汉诺夫的“文艺起源于劳动”学说是根据唯物主义原理在前人研究的基础上提出来的。它在经过鲁迅等人的译介、接受、阐述并进一步联系中国文学实际情况进行了糅合和发挥后,成为中国现代文学理论的一个重要组成部分。对普列汉诺夫的艺术起源说在中国的现当代文学理论界的接受过程和其间产生的变异及其原因进行梳理与总结,有助于了解普列汉诺夫的艺术起源观在中国现当代文论里的接受过程。

 
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