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udging by its main stream , the theme of Chinese ancient drama developed frompresentation of man in the Southern opera in the Song and Yuan Dynasties,though pre-sentation of man by means of ghost in the Yuan drama to representation of man in ro-mance-drama in the Ming and Qing Dynasties. Among the three presentations thereappeared criticism of social evils , based on good wishes and morality in the southernopera in the Song and Yuan Dynasties,exposure of the court curruption,based on realityand political life...

udging by its main stream , the theme of Chinese ancient drama developed frompresentation of man in the Southern opera in the Song and Yuan Dynasties,though pre-sentation of man by means of ghost in the Yuan drama to representation of man in ro-mance-drama in the Ming and Qing Dynasties. Among the three presentations thereappeared criticism of social evils , based on good wishes and morality in the southernopera in the Song and Yuan Dynasties,exposure of the court curruption,based on realityand political life in the roman-drama in the Ming and Qing Dynasties. The Yuan dramaconcentrates on the daily life and the fate of lower social classes whereas the Ming andQing romance-drama focuses on the life of upper social classe,and the monarch’s fate.All the three bear the same critical attitudes toward the society as an embodiment of thecontinnal evolution, change and ripening of realism in the making of ancient Chinesedrama.

我国古代戏曲题材的发展,就其主流来看,大致走过了一条从宋元南戏的演人,到元杂剧的借鬼演人,再到明清传奇的演人之嬗变道路,三者相比,宋元南戏多从愿望和伦理的角度对社会邪恶进行批判,明清传奇多从现实和政治的角度对朝廷腐败进行揭露;元杂剧关注下层社会的清平和人民的命运,明清传奇关注上层社会的清平和朝廷的命运。三者对社会的批判精神是一致的,体现了古代戏曲创作中现实主义精神的不断演变、发展和成熟。

Abstract Za Ju of the Yuan Dynasty, or the Yuan play, exercised a great influence on the novel The Romance of the Three Kingdoms.Its aesthetic value,the explanatory verse on the title of the play, the system of consecutive episodes and the stylized performance facilitate the fluent narration and description,the formation of the episodic structure, and the archetypal characterization of the novel. The beauty of smoothness and ease embodied in the creation of Za Ju in particular, broke the limitation by the traditional...

Abstract Za Ju of the Yuan Dynasty, or the Yuan play, exercised a great influence on the novel The Romance of the Three Kingdoms.Its aesthetic value,the explanatory verse on the title of the play, the system of consecutive episodes and the stylized performance facilitate the fluent narration and description,the formation of the episodic structure, and the archetypal characterization of the novel. The beauty of smoothness and ease embodied in the creation of Za Ju in particular, broke the limitation by the traditional Chinese aesthetic values and played an important role in the making of the first full-length episodic novel in China.

元杂剧的审美观、题目正名和连本戏的体制、程式化的表演等,对小说《三国演义》的酣畅叙述描写、章回体结构的形成、类型化的人物塑造等都有重要影响,尤其元杂剧的酣畅美是对中国传统审美观的突破,对该小说成为中国第一部长篇章回小说起了重要作用.

This article inquires into the relations between San Qu (Non dramatic Songs) of the Yuan Dynasty and Za Ju (the Yuan Play). The author holds that the writers of Za Ju were generally in very low social status, and chiefly belonged to the Han nationality, but the writers of San Qu were people from both high and low social status, and belonged to the Han nationality as well as minority nationalities. San Qu had become a bridge between the refined and popular literatures and between the literature...

This article inquires into the relations between San Qu (Non dramatic Songs) of the Yuan Dynasty and Za Ju (the Yuan Play). The author holds that the writers of Za Ju were generally in very low social status, and chiefly belonged to the Han nationality, but the writers of San Qu were people from both high and low social status, and belonged to the Han nationality as well as minority nationalities. San Qu had become a bridge between the refined and popular literatures and between the literature of the Han nationality and that of minority nationalities, for San Qu and Za Ju shared common Tao Qu (a cycle of songs in the traditional opera) and some common authors and actors. San Qu helped Za Ju , a popular literary form originally prevalent among the common people, to enter the main stream of literature, and enabled the latter to flourish.

该文探讨元散曲与元杂剧的关系。作者认为 ,元杂剧作家普遍地位低下 ,以汉族作家为主 ;而元散曲作家贵贱兼有、汉族作家与少数民族作家并存。元散曲因与元杂剧拥有共同的套曲、部分共同的作者和演员 ,成为雅、俗文学、汉族与少数民族文学之间的桥梁 ,使元杂剧这一原本在民间流行的通俗文学样式得以进入元代的主流文学 ,促进了它的繁荣兴盛

 
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