诗歌

基本解释 (translations)

poesy  ·  poetry  ·  rune  ·  song  ·  poesies  ·  runes

词组短语

poems and songs

与诗歌相关的网络例句 [注：此内容来源于网络，仅供参考]

On the poet's choice, mainly be decided by two standards, one is the popularity and influences of works; two is the meaning of the creations development that it create for the whole colony. Owing to above two standards, the writer chooses seven writers to launch the treatise, they are Jidi Maja, Jimu Langge, Luwu Laqi, Ma Deqing, Aku Wuwu , Asu Yuer, Eni-Mushashijia. In discussing the process, the writer used the nationality and Poetics of the poem as the latent clues, emphasized to inquiry into three main roads and three main realms. On the article structure, the full text mainly is divided into two parts, one is the concrete imago analysis to each poet creations, two is upon the analytical foundation the integration of the theories, with this the treatise could be united into an organic whole. In regard to the conclusion, we educe the characteristics of the colony is deep consciousness to the nation culture, also extensive exploration and attention to poetics. The blemish is the inside emotion and sensibility is similar or duplicate and that the creation pattern is narrow. The main develop threads of the colony are upon the female clan culture the diverse poem skill investigation, its nation culture value tropism present the rising spiral type of return- leave- return again.

在研究方法上，本文以意象分析法为贯穿全文的主要方法，通过对意象的具体分析来透视凉山诗群的诗歌世界；在诗人的选择上以其作品的影响力及意义为标准，选择了这一诗群的七位诗人展开论述，他们分别是吉狄马加、吉木狼格、倮伍拉且、马德清、阿库乌雾、阿苏越尔、俄尼·牧莎斯加；在论述过程上，笔者以诗歌的民族性和诗性作为前后贯穿的潜在线索，着重探讨了这一诗群创作的三个主要倾向和三个主要领域，前者详论，后者略述，具体表现在对前三位诗人的论述以诗人论的形式详细展开，探讨他们所代表的凉山诗群发展过程中的三个主要创作倾向，即民族文化的深层开掘、诗艺的实验性探索和艺术哲学的尝试性建构，对后四位诗人的论述则以主题的方式展开，探讨他们所代表的凉山诗群在爱情诗、乡土诗和文化诗三个领域的探索；在文章结构上，全文主要分为两大板块，一是对各位诗人创作的具体意象分析，二是在前文分析的基础上进行理论的整合，以此将前面散珠似的论述贯穿成一个有机整体；在结论上，我们通过整合得出：1、凉山诗人群新时期以来诗歌创作的大致发展脉络：在母族文化的基质之上的多元诗艺探索，其民族文化价值取向呈现为回归—离去—再回归的螺旋式上升形态；2、新时期彝族凉山诗人群汉语诗歌创作的特点，即民族文化意识的深层自觉，对诗性的关注和探索；3、新时期彝族凉山诗人群汉语诗歌创作的缺陷，即情感意蕴的雷同和创作格局的狭小。

The wind whispers them the birds whistle them, the corn, barley, and bulrushes brassily rustle them; nay, the music boxes at Geneva are framed and toothed to play them; the hand organs of the Sao yards in all cities repeat them, and the chimes of bells ring them in the spires.

风儿在哼着这些诗歌，鸟儿在唱着这些歌，谷物、大麦及芦苇在大声吟唱这些诗歌。不仅如此，设计精妙的日内瓦音乐盒在演奏这些诗歌，各城市萨瓦人的手风琴在不停地演奏这些诗歌，塔顶排钟在和谐地吟唱这些诗歌。

It's an experimental creation period from "Boatman's Elegy" to "Sirius" during which the performance of poetry's perception and the knowing are not mature/Under the influence of the west modernism art, his poetry has been experienced from the new moon romantic to the modernism. It's his mature period from "Lotus's Association" to"Separates the Water Goddess of Mercy". During this time his poetry's intellectuality and sensibility tends to be mature. Through the reconsidering of the westernization, the poet starts to inaugurate a new sky, and the poetry displays a bright neoclassic principle characteristic, then penetrates into the traditional nationality culture;and the "Bestows on from Cercis chinensis" is the deepened time until now which the poet displays for all kinds of practical styles, which includes multiplex characteristic.In his poetry, the intellectuality blends with sensibility, the sensation combined with logos.

从《舟子的悲歌》到《天狼星》是诗人创作的实验期，这一时期诗歌的感性和知性的表现还不成熟，其间由于受西方现代主义艺术的影响，其诗歌经历了从新月浪漫派到现代主义的变化；从《莲的联想》到《隔水观音》是诗人创作的成熟期，这一时期诗歌的感性和知性表现趋于成熟，诗人通过对西化的反思开始"浪子回头"，诗歌表现出鲜明的新古典主义特征，进而深入到民族传统文化之中；而自《紫荆赋》至今是诗人创作的深化期，表现为兼容并蓄的写实风格，并具有多元取向的特征。

TT models, this paper established a new one of "subject omission", designating the overlapped part of the "input variance" and the "output variance", also the common part in both "semantic translation and "communicative translation". Thus, this new strategy not only gets popular with foreign readers, but also conveys and transferred the original flavor. It effectively absorbs the valid ingredients of the "disembodiment approach, and is proposed as a partly foreignization strategy, which are both initiated in this paper. Starting from the definition and function of subject omission, this paper illustrates its correlations with the characteristics of classical Chinese, features of poetic syntax and translation standard, followed by its close intimacy with the many traits of poetic aesthetics.

本文从马藤和纽马克的翻译模型出发，找到了input variance和 output variance，也即 Semantic Translation 与 Communicative Translation 中重叠的部分，即既能为外语读者所熟悉，又能体现原诗风格意境的结点：主语省略，融合了西洋翻译实验中"脱体句法"的合理成分，建立了诗歌翻译和主语省略关系的新模型，提出了中文诗歌部分异化的策略(与荷尔马斯诗歌翻译策略之三吻合)本文首先从主语省略的定义及功能入手，分别阐述了其与文言文的语言特征，诗歌句法的特征及与翻译标准之间的内在联系，及其与诗歌美学众特征之间的紧密联系。

The writer chose representative poets' works to launch the treatise, owing to the popularity and influences of poems.The full text was divided into five parts, the first part reviewed the achievements of minority Chinese language poem; the second part analyzed the imago of the poem and explained the deep artistic connotation; the third part emphasized to analyze Jidi Maja's poems, which represented the Yi's poem at Cold Mountain and Liemei Pingcuo's poems, which represented the Tibetan poem. The fourth part discussed the innovation of minority poet about the poem pattern and artistic personality, commented on pioneer poets' conception and practice, and the attention to soul of the minority female poets. The fifth part pointed out the limitations of the new period national minority poem.

本文具体分为五个部分：第一部分从民族意识的自觉和自审，诗美建构的探索与实践等方面综论少数民族汉诗的创作成就；第二部分为精神原型的诗意体现——意象系统分析，分别从原型意识的现代演绎和宗教神性家园的守望等角度分析诗歌意象，阐释深层的艺术内涵；第三部分着重分析以吉的马加为代表的凉山彝族诗歌，以列美平措为代表的藏族诗歌，****其作品对民族灵魂的传承和文化内涵的重构；第四部分探讨少数民族诗人关于诗歌范式与艺术个性的创新，评论先锋诗人的诗歌理念与实践，少数民族女性诗人对心灵的观照；第五部分通过整合得出新时期少数民族汉语诗歌创作存在的局限，指出汉化和西化倾向导致本民族文化特色的缺失。

Having synthetically analyzed the annalistic poetry and the poetic evolvement recorded by literati of Nan Dynasty, Chapter 1,"The Developing Stages of Yuanjia Poetry", indicates that the development of Yuanjia poetry shows itself in 4 stages approximately and the poetic ethos of each stage has its own character. Secretiveness and elegance are the main character as a whole for Yuanjia poetry in the turn of poetic history.

第一章《元嘉诗歌的发展阶段》，将可编年的诗歌和南朝文人对诗歌演变的记载加以综合分析，指出：元嘉诗歌发展大致呈现出四个阶段，每个阶段的诗坛风气又各具特点，而隐秀则是元嘉诗歌在诗歌史发展转折时斯所具有的总体特征。

This article attempts to start with the systematicness of Zhang Jie's poetry esthetics thought, discusses his poetry esthetics thought thoroughly regarding the poetry esthetic creation stage, the poetry accepts the stage. And in this process, more thorough discusses him such as"expressing aspirations is oriented, chanting things is modified"and"the affection outbreaks in surge after it is superabound"as well as"cogency"and so on extremely theoretical value propositions.

本文试图从张戒诗歌美学思想的系统性入手，深入探讨他对于诗歌审美创造阶段、诗歌审美接受阶段以及诗歌审美风格形成阶段的诗歌美学思想，并在探讨其诗歌美学思想系统性的过程中，较为深入的分析他的诸如"言志为本，咏物为工"、"情意有余，汹涌而后发者也"、"中的"等极具理论价值的命题。

The first section discusses the development situation of poetry folk tendency,and the background of folk tendency.

对这一历史过程中诗歌的具体生存样态和状况进行分析，主要考察和分析诗歌民刊和网络诗歌发展的具体情况，探讨其价值意义，指出这两者已经成为先锋诗歌存在的主要载体和诗歌发展的重要动力，然后从两个方面分析民间化趋向产生的原因，其一，当今时代氛围中整个文学门类已经边缘化、民间化；其二，中国诗歌——尤其是当代诗歌——历史发展中一直存在着民间的传统，这种民间传统在当今时代得到进一步的发展。

Imagists have obtained the quintessence of classic Chinese verse—use of imagery and its linguistic style, but have not attained the aesthetic realm of Yijing owing to the cultural differences; on the other hand, they have not inherited the traditional western aesthetic principle.

中国古典诗歌对意象派诗歌的影响全面而深远，意象派汲取了中国古典诗歌中的精髓——意象的运用，借鉴了中国古典诗歌的语言风格，但由于文化的差异，意象派诗歌没有达到&意境&这一审美高度，同时也未能承袭传统西方诗歌的审美原则，所以虽开英美现代诗歌之先河却未能成为主流。

On the poet's choice, mainly be decided by two standards, one is the popularity and influences of works; two is the meaning of the creations development that it create for the whole colony. Owing to above two standards, the writer chooses seven writers to launch the treatise, they are Jidi Maja, Jimu Langge, Luwu Laqi, Ma Deqing, Aku Wuwu , Asu Yuer, Eni-Mushashijia. In discussing the process, the writer used the nationality and Poetics of the poem as the latent clues, emphasized to inquiry into three main roads and three main realms. On the article structure, the full text mainly is divided into two parts, one is the concrete imago analysis to each poet creations, two is upon the analytical foundation the integration of the theories, with this the treatise could be united into an organic whole. In regard to the conclusion, we educe the characteristics of the colony is deep consciousness to the nation culture, also extensive exploration and attention to poetics. The blemish is the inside emotion and sensibility is similar or duplicate and that the creation pattern is narrow. The main develop threads of the colony are upon the female clan culture the diverse poem skill investigation, its nation culture value tropism present the rising spiral type of return- leave- return again.

在研究方法上，本文以意象分析法为贯穿全文的主要方法，通过对意象的具体分析来****凉山诗群的诗歌世界；在诗人的选择上以其作品的影响力及意义为标准，选择了这一诗群的七位诗人展开论述，他们分别是吉狄马加、吉木狼格、倮伍拉且、马德清、阿库乌雾、阿苏越尔、俄尼·牧莎斯加；在论述过程上，笔者以诗歌的民族性和诗性作为前后贯穿的潜在线索，着重探讨了这一诗群创作的三个主要倾向和三个主要领域，前者详论，后者略述，具体表现在对前三位诗人的论述以诗人论的形式详细展开，探讨他们所代表的凉山诗群发展过程中的三个主要创作倾向，即民族文化的深层开掘、诗艺的实验性探索和艺术哲学的尝试性建构，对后四位诗人的论述则以主题的方式展开，探讨他们所代表的凉山诗群在爱情诗、乡土诗和文化诗三个领域的探索；在文章结构上，全文主要分为两大板块，一是对各位诗人创作的具体意象分析，二是在前文分析的基础上进行理论的整合，以此将前面散珠似的论述贯穿成一个有机整体；在结论上，我们通过整合得出：1、凉山诗人群新时期以来诗歌创作的大致发展脉络：在母族文化的基质之上的多元诗艺探索，其民族文化价值取向呈现为回归—离去—再回归的螺旋式上升形态；2、新时期彝族凉山诗人群汉语诗歌创作的特点，即民族文化意识的深层自觉，对诗性的关注和探索；3、新时期彝族凉山诗人群汉语诗歌创作的缺陷，即情感意蕴的雷同和创作格局的狭小。

与诗歌相关的网络解释 [注：此内容来源于网络，仅供参考]

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the Imagist Poetry Movement：意象主义诗歌

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poetic musicality：诗歌音乐性

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poetical creation：诗歌创作

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