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   歌剧《白毛女》 的翻译结果: 查询用时:0.169秒
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歌剧白毛女
相关语句
  opera the white-haired lady
     The Study of Opera the White-haired Lady
     歌剧《白毛女》研究
短句来源
  “歌剧《白毛女》”译为未确定词的双语例句
     The Shifts in Appraisal Patterns of The Opera A White - haired Lady in the Past 60 Years
     六十年来歌剧《白毛女》评价模式的变迁
短句来源
     Construction "revolutionary classics": From complex to "purely" ——Take the opera "the White-Haired Girl" and the ballet "the White-Haired Girl" as the example
     重构“革命经典”:从复杂到“纯粹”——以歌剧《白毛女》和舞剧《白毛女》为例
短句来源
     Reconstruction of "Revolutionary Classics": From complex to purity"——take the opera "the White-Haired Girl" and the ballet "the White-Haired Girl" as the example
     重构“革命经典”:从复杂到“纯粹”——以歌剧《白毛女》和舞剧《白毛女》为例
短句来源
     To create so-called new culture on the basis of cultural desolate land has been full of both hardships and imaginations.
     歌剧《白毛女》研究尽管“白毛仙姑”传说潜在的社会诉求使文化人与延安之间形成相当的默契,但是,他们在对延安新文化秩序的理解上却出现了分歧。
短句来源
     In the first part of an article on the historical background, first introduced concise " Wind and snow all over the way " aria in the opera "White-Haired Girl," the important status and opera "White-Haired Girl," the story outline.
     在第一部分文章历史背景论述中,首先简明介绍了《十里风雪》唱段在歌剧《白毛女》中的重要地位,以及歌剧《白毛女》的故事梗概。
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  相似匹配句对
     About Opera
     泡歌剧
短句来源
     CARMEN
     歌剧卡门
短句来源
     The Study of Opera the White-haired Lady
     歌剧白毛女研究
短句来源
     Beijing Opera And Opera
     京剧与歌剧
短句来源
     The Artistic Characteristics of Opera MACBETH
     歌剧麦克白艺术特征
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The political ideology takes a leading role in the discourse construction of the opera--White Hair Girl, and the major text connotation is determined by the political authorizing consciousness, while folk discourse and the discourse which represents the tradition of the intellectuals' in the May 4th Movement also penetrate into the text. And the different types of discourse interact with each other and place different influence upon the construction of the text. Consequently, the sole connotation of the text...

The political ideology takes a leading role in the discourse construction of the opera--White Hair Girl, and the major text connotation is determined by the political authorizing consciousness, while folk discourse and the discourse which represents the tradition of the intellectuals' in the May 4th Movement also penetrate into the text. And the different types of discourse interact with each other and place different influence upon the construction of the text. Consequently, the sole connotation of the text appears to non-single, and the "flat" image of the main character, to some degree, appears to be "in the round". Furthermore, the conflicting or blending relationships among the different types of the discourse have diversified the connotation of the text. And this cultural diversity has left rooms to explore the text's implied connotation.

在歌剧《白毛女》的话语构成体系中 ,虽然政治意识形态话语起了决定性的作用 ,文本内涵的主导层面已由政权意识所确定 ,但民间话语和代表五四传统的知识分子话语依然渗入其中并在相互作用中对文本话语体系的构成施加着不同的影响 ,使得看似单纯的剧作内蕴显现出一定程度的非单纯性 ,看似扁平的主要人物形象显现出一定的“圆润”度 ,同时 ,不同话语之间的或相融或抵牾的关系也使作品的内涵呈现出一定的多重组合性。这种文化构成上的多样性为文本留下了可供开掘的潜隐内涵

The Opera A White - haired Lady started its critical history since its debut in 1945. In the past 60 years , the shifts of various kinds have taken place in its appraisal patterns in the course of classiciza-tion and de - classicization of this opera. Between 1940 - 1980 , the appraisals and criticisms of A White - haired Lady ranged from the initial "contentions" and the long - time "narrative". The "narrative" of ideological discourse frequently enriched and supplemented discourse of power and constituted...

The Opera A White - haired Lady started its critical history since its debut in 1945. In the past 60 years , the shifts of various kinds have taken place in its appraisal patterns in the course of classiciza-tion and de - classicization of this opera. Between 1940 - 1980 , the appraisals and criticisms of A White - haired Lady ranged from the initial "contentions" and the long - time "narrative". The "narrative" of ideological discourse frequently enriched and supplemented discourse of power and constituted " revolutionary classics" , so as to serve the needs of our nation. Since the 1990s , critics have been aware of cov-eredness of "narrative" pattern, and turned to start to play with and deconstruct classics, uncovering its historical complexity. People have no longer stayed in answering "what is" The Opera A White - haired Lady , but started furhter to pursue "how is it so" and "why is it so". Therefore , the different appraisal patterns include "reflection" , "dissection" , "allegory" , and from "tex" to "history". The changes in answering patterns have led to different visible contents, "narrative" pattern narrates what kind of revolutionary stories this is; "reflection" pattern aims to study how ideological discourse comes into effect; "dissection" pattern witnesses inter - action of a multitude of cultural forces ; 'allegory' pattern has answered why "opera" of this kind art was adopted in the 1940s; the study path from "text" to "history" focuses itself on how "text" produces "history" and "ideology" . These appraisal patterns are due to different awarenesses of problems , types of knowledge , theoretical instruments and study paths.

歌剧《白毛女》从1945年诞生以来,就开始了它的评价史。六十年来,伴随着歌剧"经典化"、"解经典"的过程, 其评价模式发生了种种变迁。20世纪40-80年代,关于《白毛女》的评价由最初的"争鸣"到漫长的"复述",通过对意识 形态话语的"复述",不断丰富和补充了权力话语,构建出"革命经典",以服务于民族国家的需要。90年代以来,评价者 意识到"复述"模式的遮蔽性,转而开始重读、拆解经典,开掘出历史复杂性的一面。人们不再停留于歌剧《白毛女》"是什 么"的回答上,开始追问它"怎样如此"、"为什么如此"。因此,出现了"反思"、"解剖"、"寓言"、"从'文本'进入'历史'" 等不同的评价模式。提问方式的变化导致了不同的可见性内容。"复述"模式讲述这是个什么样的革命故事;"反思"模 式旨在研究意识形态话语的生效机制;"解剖"模式看到了歌剧中多种文化力量相互作用的状态;"寓言"模式将《白毛 女》放在现代性的发展逻辑中,回答为什么20世纪40年代会选择"歌剧"这种艺术形式;"从'文本'进入'历史'"的研究 路径着力于探究"文本"如何生产了"历史"和"意识形态"。这些评价模式是由于每个时代的问题意识、知识型、理论工 具和研究路...

歌剧《白毛女》从1945年诞生以来,就开始了它的评价史。六十年来,伴随着歌剧"经典化"、"解经典"的过程, 其评价模式发生了种种变迁。20世纪40-80年代,关于《白毛女》的评价由最初的"争鸣"到漫长的"复述",通过对意识 形态话语的"复述",不断丰富和补充了权力话语,构建出"革命经典",以服务于民族国家的需要。90年代以来,评价者 意识到"复述"模式的遮蔽性,转而开始重读、拆解经典,开掘出历史复杂性的一面。人们不再停留于歌剧《白毛女》"是什 么"的回答上,开始追问它"怎样如此"、"为什么如此"。因此,出现了"反思"、"解剖"、"寓言"、"从'文本'进入'历史'" 等不同的评价模式。提问方式的变化导致了不同的可见性内容。"复述"模式讲述这是个什么样的革命故事;"反思"模 式旨在研究意识形态话语的生效机制;"解剖"模式看到了歌剧中多种文化力量相互作用的状态;"寓言"模式将《白毛 女》放在现代性的发展逻辑中,回答为什么20世纪40年代会选择"歌剧"这种艺术形式;"从'文本'进入'历史'"的研究 路径着力于探究"文本"如何生产了"历史"和"意识形态"。这些评价模式是由于每个时代的问题意识、知识型、理论工 具和研究路径的不同所决定的。

This paper attempts to discuss the form of “new yangko” for “depicting the masses in the new age”, the topic of which focuses on two points: the first is the artistic form of “the emancipated and collectivized new peasants”, involving the new yangko in terms of its new theme, characters, creation and performance, new pattern and style; the second is the utilization of the yangko and the efficacy and limit of new literary and artistic forms in esatblishing “the national pattern” in The White-haired Girl—a typical...

This paper attempts to discuss the form of “new yangko” for “depicting the masses in the new age”, the topic of which focuses on two points: the first is the artistic form of “the emancipated and collectivized new peasants”, involving the new yangko in terms of its new theme, characters, creation and performance, new pattern and style; the second is the utilization of the yangko and the efficacy and limit of new literary and artistic forms in esatblishing “the national pattern” in The White-haired Girl—a typical play representative of the modern national opera.

论文讨论“表现新的群众的时代”的“新秧歌”形态。话题集中在两点:一是“解放了的而且开始集体化了的新的农民”的艺术形态,涉及新秧歌的新的主题、新的人物、新的创作和演出、新的形式和风格。二是代表现代民族歌剧的《白毛女》中,秧歌形式的利用和新文艺在创造“民族形式”中的效用与限度。

 
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