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western dramatic
相关语句
  西方戏剧
     Moliere's Comedy Creation And The Turning Of Western Dramatic Narrative Model
     莫里哀喜剧创作与西方戏剧叙事范型的转换
短句来源
     On Construction and Deconstruction of "Three Unities" of Western Dramatic Poetics
     论西方戏剧诗学“三一律”观的建构与解构
短句来源
     From the viewpoints of reception theory and readers-response theory, the present writer delves deeply into the overlooked problem of how the audience read theatrical performance in the Western dramatic theory and dramatic history studies.
     作者运用西方晚近兴起的接受美学和读者反应理论的成果,深入考察了西方戏剧理论和戏剧史研究中一个被忽略的问题,即观众是如何解读戏剧表演的。
短句来源
     Secondly,Li Yus theory of ‘Kehun’(buffoonery) is a mirror that can reflect the weakness of Western dramatic theory.
     2 李渔的“科诨”论是西方戏剧理论弱点的一面镜子。
短句来源
     There's a sharp contrast between,the non action,the openness of the spoken parts in Yuan dynasty's poetic drama and the action,confinedness and seriousness of the western dramatic language.
     元杂剧宾白的非动作性、开放性正与西方戏剧语言的动作性、封闭性、严肃性形成了显而易见的差异
短句来源
  “western dramatic”译为未确定词的双语例句
     A Comparative Study of Chinese and Western Dramatic Theories of Plot
     中西戏剧情节论之比较
短句来源
     Designing and arranging of tragedy plots are emphasized by both chinese and western dramatic and theorists.
     中西方戏剧家、理论家都重视悲剧情节的设计和安排。
短句来源
  相似匹配句对
     Dramatic Characters of the Literature and Art Of Western Regions
     西域文学艺术的戏剧化
短句来源
     What a “Mistake" ——On the Dramatic Conflict of The Western Chamber
     怎一个“错”字了得——谈《西厢记》的戏剧冲突
短句来源
     Western Blotting;
     western Blot; 地高辛标记的EMSA;
短句来源
     Western Aesthetics
     《西方美学》
短句来源
     The Dramatic Narrative of Job
     《约伯记》的戏剧叙事
短句来源
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  western dramatic
Some European and non-Western dramatic texts from various historical periods may also be included.
      


From the viewpoints of reception theory and readers-response theory, the present writer delves deeply into the overlooked problem of how the audience read theatrical performance in the Western dramatic theory and dramatic history studies. By analysing the various factors that influence audience s reading, such as dramatic criticism and dramatic promotion, the writer proposes a significant direction for studies in dramatic theory and dramatic aesthetics; to observe and study...

From the viewpoints of reception theory and readers-response theory, the present writer delves deeply into the overlooked problem of how the audience read theatrical performance in the Western dramatic theory and dramatic history studies. By analysing the various factors that influence audience s reading, such as dramatic criticism and dramatic promotion, the writer proposes a significant direction for studies in dramatic theory and dramatic aesthetics; to observe and study the complicated dynamic relationship between the community of audience and social institutions of the theatre.

作者运用西方晚近兴起的接受美学和读者反应理论的成果,深入考察了西方戏剧理论和戏剧史研究中一个被忽略的问题,即观众是如何解读戏剧表演的。通过对观众解读有所影响的各种因素(特别是戏剧宣传、评论等)的分析,作者提出了戏剧理论和美学研究的一个重要方向——考察观众共同体与戏剧社会体制之间的复杂的动态关系。

This thesis can be divided into four parts.Firstly,Li Yus theory of ‘Structure’ is different from that of Aristotle.What should be emphasized here is the distinction between Li Yus ‘one event’and Aristotlee.It thus corrects the improper comparison that has lasted for more than on decade in China.Secondly,Li Yus theory of ‘Kehun’(buffoonery) is a mirror that can reflect the weakness of Western dramatic theory.The thesis takes the example of ‘Shakespearian Criticism’ to expound that Western dramatic critics...

This thesis can be divided into four parts.Firstly,Li Yus theory of ‘Structure’ is different from that of Aristotle.What should be emphasized here is the distinction between Li Yus ‘one event’and Aristotlee.It thus corrects the improper comparison that has lasted for more than on decade in China.Secondly,Li Yus theory of ‘Kehun’(buffoonery) is a mirror that can reflect the weakness of Western dramatic theory.The thesis takes the example of ‘Shakespearian Criticism’ to expound that Western dramatic critics ignored the value of ‘Kehun’.So Li Yus theory of ‘Kehun’ can also compensate for the weakness of the western dramatic theory. Thirdly, Li Yus theory of ‘Practicism’ is 250 years earlier than that of Stanislavski,who has been cited alone in this reagard. However,Li Yus dramatic theory,including that expressed in his novels,is demonstrated to have a system of its own ‘Practicism’. Fourthly, both ‘Artpoétique’(1674) by Boileau and ‘Xian Qing Ou Ji’(1671) by Li yu are the influential dramatic words written in 17th centry;moreover,both were ‘eulogist’ and catered to the tendency of history. But regrettably in China, some scholare (including Lu Xun) condemnted Li Yu.

该文以李渔的《闲情偶寄》与西方的戏剧理论进行比较 :1 李渔的结构论不同于阿里斯多德的新思维、新方法。尤其是“一事”论与西方的不同 ,澄清国内沿袭了十几年的误比。 2 李渔的“科诨”论是西方戏剧理论弱点的一面镜子。西方戏剧理论不重视研究科诨艺术 ,李渔的科诨理论可以补西方戏剧理论之不足。 3 李渔的“体验”论先于斯坦尼斯拉夫斯基 2 5 0年 ,而且自成体系。 4 指出布瓦洛《诗的艺术》 (16 74)与李渔的《闲情偶寄》 (16 71)都是 17世纪东西方戏剧理论名著 ,二人都是“歌功颂德”派 ,都顺应了历史进步潮流 ,但国内有人对李渔贬之甚低 (包括鲁迅先生 ) ,这是不对的

The Chinese and Western dramatic arts have different traditions as well as different characteristics. Comparatively speaking, lyric style is distinct in Chinese playwriting, while narrative style is obvious in western playwriting. The birth of a theory of plot as a system is about 2000 years later in China than in the West. Li Yu as a representative of the Chinese playwrights lays stress on how to design a plot of a play,while the Westerners such as Aristotle analyses dramatic plots by anatomy....

The Chinese and Western dramatic arts have different traditions as well as different characteristics. Comparatively speaking, lyric style is distinct in Chinese playwriting, while narrative style is obvious in western playwriting. The birth of a theory of plot as a system is about 2000 years later in China than in the West. Li Yu as a representative of the Chinese playwrights lays stress on how to design a plot of a play,while the Westerners such as Aristotle analyses dramatic plots by anatomy. The Chinese playwrights discuss plots in order to show how to write a play, while Western dramatists study plots literarily, philosophically and psychologically to show what drama is.

由于中西戏剧传统的差异 ,二者呈现出重抒情与重叙事的不同特色。中国戏剧重曲轻戏 ,成体系的戏剧情节理论比西方晚出现近两千年。西方围绕情节展开的理论探索持续不断 ,成果丰硕 ;中国在戏剧情节领域探索的总体阵容 ,则显得势单力薄。以李渔为代表的中国戏剧理论家 ,往往从编剧论的角度来探讨戏剧情节的构思 ,西方理论家如亚里斯多德 ,多是把情节作为戏剧的构成要素来加以剖析。西方从文学、哲学、心理学等多角度 ,对情节展开全面的研究 ,具有形而上的意味 ,中国的戏剧情节理论重在经验形态 ,带有明显的创作论色彩

 
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