查询词典 narrative

It is noticeable that the canonizing critical narrative on Ba Jin's Capriccio on My Past consists of three levels: 1.the author's self-narrative; 2.the narrative of the public; 3.the narrative of the academia.

对《随想录》的经典化叙述包含三个层次：一是巴金的自我叙述；二是公众的期待性叙述；三是学院派的知识分子叙述。

This article asserts that classicalization narrative on Ba Jin's Capriccio on My Past includes three aspects: 1.the author's self-narrative; 2.the public's narrative in expectancy; 3.scholastic intellectuals'narrative.

对《随想录》的经典化叙述包含三个层次：一是巴金的自我叙述；二是公众的期待性叙述；三是学院派的知识分子叙述。

When we study the 20~ century Chinese clan/family novel systematically, we will find that the novel text of the clan/family novel in the times of May Fourth Movement: the conflict relationship of father and son is a metaphor for our nation situation in the traditional feudal symbol order; adopts unity of oppositions in the narrative mode, rebellious son perspective and look-down perspective; in the clan/family novel text in the "seventeen years", the complot of father-son relationship covers great narrative of revolution history and comply to the narrative syntax of revolution-centered, versatile perspective and "look-up" perspective; for the clan/family novel writing, the explanation of the relationship between father and son imitated and overturn the historical narrative and set up imitation and ironic narrative mode, the perspective of "I" and observation.

对20世纪中国家族家庭小说进行系统全面的梳理，我们发现："五四"时期的家族家庭小说文本，父子关系的对立隐喻着传统封建象征秩序下的民族遭际，采用二元对立的叙事模式及家族逆子视角与"俯视"视点；"十七年"时期的家族家庭小说文本，父子关系的共谋谱写着宏大叙事遮蔽下的革命历史，恪守以阶级斗争为中心的叙事语法及全知全能视角与"仰视"视点：新时期以降的家族家庭小说创作，父子关系的解构书写着戏仿与颠覆的历史叙事，创立戏拟与反讽的叙事模式及第一人称"我"的视角与"平视"视点。

In short,the narrative poets in the 1940s integrate chinese and western narrative poetry resources,use for reference the narrative techniques of the western and classical narrative poesies,and then carry through valuable exploration and innovation in the artistic skills and narrative techniques.They provide a lot of valuable experiences and lessons for establishing a mature theory system of formal aesthetics about modern long narrative poems.Moreover,it will have far-reaching impact on the theory construction and inditement of contemporary narrative poems.

总之，40年代的叙事诗人整合中西叙事诗学资源，借鉴古典叙事诗和西方现代诗的叙事技巧，在叙事策略和艺术技巧上进行了可贵的探索与创新，为建立完备的现代长篇叙事诗的形式美学理论体系提供了许多宝贵的经验与教训，对当代叙事诗的理论建设与创作实践也影响深远。

Part I :the definition of officialdom novels ,the insightful discussion of the development of them ,and the primary analysis of the reasons of their flourishing ;Part II :the construction of subject matters of officialdom novels by probing analysis into official corruption ,official and social psychologies ;Part III: the of artistic features of characters and narrative (i.e. narrative perspective constructions ,discourse and ironical narration ),which are illustrated by the positive characters with personalities ,negative ones with complex characteristics ,more importantly ,the vulgar existence ofgray characters ,the discovery of features of narrative methods with the contract of two types of novels ; Part IV: the positive comment on the realistic rules of officialdom novels and the surpassing of the previous ones ,the shortcomings from the artistic perspective : the adoption to the reality seriously fetters artistic imagination of literature works ,it also reads to the lacking of insightful thinking ,the simple characters fail to reveal artistic glamour ,the routinized narrative methods also degrades the artistic savor of works .

第一部分，界定官场小说的内涵，并对它的历史发展，对其在当下繁荣的原因做初步的探析；第二部分，从官场小说对官场腐败、官员内心世界和社会文化心理等方面的揭示考察其主题构成；第三部分，从人物形象、叙事方式(叙事视角、叙事结构、反讽叙事、叙事话语)等分析官场小说的艺术表现特征，指出官场小说不仅塑造了性格鲜明的正面人物，也真实刻画了具有复杂人性的反面角色，更重要的是展现了官场灰色人物的庸俗生存，并通过两类不同类型小说的对比，揭示其各自不同的叙事特征；第四部分，充分肯定官场小说的现实主义价值，及其对前期官场小说的超越，并从小说艺术角度指出其存在的严重不足：小说对现实的屈从束缚了作品的艺术想象力，使小说缺乏深厚的思想内蕴；人物形象也显得单薄，无法产生感人的艺术魅力；叙事的模式化也大大降低了作品的艺术品位。

This kind of tension is mainly displayed through the narrative structure of text, the narrative rhythm, fictional and nonfictional descriptions,narrative and non-narrative discourses andthe intrinsic contradictionof characters.

这种张力主要通过文本的叙事结构与叙事节奏、虚构性与非虚构性描写、叙事性话语与非叙事性话语、人物形象的内在矛盾性等方面表现出来。

The text was divided into five parts: The basic conception of narratology applicability of narrative theory in television advertisiment research was explained in the first chapter; television advertisiment was researched on four aspects: the entity of narratory、the display mode of storied advertisiment、the analysis of live broadcast and word of narrative advertisiment in the second chapter; narrative research on the symbol mode of television advertisiment such as montages and voices et cetera was made in the third chapter; television advertisiment was analyzed by signifier and signified of advertisiment as well as narrative technique in desire and implementation in the fourth chapter; the relationship of narrative prototype and adoption in television advertisiment was discussed on several aspects such as circumstances prototype、ideological prototype and person prototype et cetera in the fifth chapter.

本文正文共分五个部分展开：第一章阐释叙事学的基本概念以及叙事理论对电视广告研究的适用性；第二章从叙事的本质、广告故事化的表现形式、广告叙事的时况和话语分析四个方面研究电视广告并尝试建构一个电视广告叙事学的研究模式；第三章对电视广告中的画面和声音等符号形式进行叙事学研究；第四章从广告中的能指和所指、愿望和实现的叙事技巧对电视广告进行分析；第五章从情节原型、意识形态原型、人物原型等方面探讨电视广告中叙事原型与叙事接受的关系，同时探讨电视广告的陌生化表达方式。

After analyzing various kinds of narrative forms ,1 think the narrative forms may be divided into two kinds : orectic narrative form and poetic narrative form .Although it can not paint the 90"s metropolis novels" panorama, but these two kinds of narrative form are the most important and representative in the 90s metropolis novel.

对诸种叙事形态进行一下梳理后，本文认为大体可分为两种叙事形态：欲望化叙事和诗化叙事，虽不能完全概括其全貌，但在90年代都市小说中这两种叙事形态是最为主要的，最有代表性的。

This dissertation has 7 chapters. Chapter One introduces the tradition of historical narration in Chinese literature, discusses the relationship between fiction and historical narration, and the historical view of humanism in traditional novels. Chapter Two analyzes the historical view in contemporary red narrative, the origin of red historical compilation, hypo-realism in red novels of officers, and the features of taking personal narrative as revolutionary narrative etc. the song of youth is taken as an example to illustrate the secret of changing little burgesses narrative into revolutionary narrative. Chapter Three focuses on re-emergence and changes of enlightenment historical narrative and the historical sense of enlightenment. Tibet, implied times and the family of red corn are taken as examples to illustrate the features of changing from enlightenment historicism to new historicism. Chapter Four examines the phenomena and characteristics of new historicism narrative. The following chapter concerns the historical narrative by Yu Hua and Mo Yan, and historical sense of quasi-new historicism in Wang Anyi's Changhenge.

正文共分七章，第一章是对&中国文学中的历史叙事传统&的追溯：探讨了中国文学中&小说&这一文类与&历史叙事&之间的渊源关系，传统小说中的人本主义与生命本体论的历史观、其悲剧本质的历史诗学与美学理念、其循环论与非主流的历史伦理：第二章是对&当代红色叙事中的历史观&的分析：探讨了其&红色历史编纂学&的由来，红色官史小说中的&伪现实主义&、&把个人叙事装饰为革命叙事&的特点、其&革命&外表下装裹着的&旧式&的叙事模型等等，还以《青春之歌》为例分析了由小布尔乔亚叙事改装为革命叙事的奥秘：第三章是对&启蒙历史叙事的重现与转型&的梳理：分析了寻根文学中所包含的启蒙历史主义意识一一从最早的民俗学趣味、到寻根诗歌中&文化民族主义&的突然高涨、还有寻根小说中所包含的各种新型的历史思想，还以稍后的扎西达娃的《西藏，隐秘岁月》和莫言的《红高粱家族》为例，探讨了其由启蒙历史主义向新历史主义过渡的特点：第四章是对&新历史主义叙事的现象与特征&的分析，先是梳理了新历史主义文学思潮从八十年代后期到九十年代末期所出现的大量现象和演变的轨迹，而后分析了各种类型的新历史主义叙事的特征，其基本尺度、还有&新&与&旧&的关系等等；此后第五、六、七章分别就余华和莫言的历史叙事、还有王安忆的《长恨歌》中的类似新历史主义的历史意识进行了分析。

This paper attempts to study those typical texts in detail,on the basis of the in-depth analysis of the narrative art and techniques of the 1940's narrative poems,mainly from four aspects:the lyric narration,imagery narration, dramatic narration,"moledicized" narration,so as to explore and appraise their historical contribution,values,functions and limitations in the modem poem history.In the narrative poems in the 1940s,the technique of"lyric narration" is embodied mainly in the high degree of artistic integration of "felling" and "polt".The lyricism is fully embodied in both structure and language,and generally through two ways:the lyricism of the dramatis personae and the lyricism of relaters or poet himselfThe narrative poets in 1940s have further developed the "mood" type of narrative poems(a kind of structure model of the modem narrative poem)which was created by predecessors.

本文试图在对有代表性的文本进行细致研读的基础上，对40年代叙事长诗的叙事艺术与策略进行深入剖析，主要从抒情化叙事、意象化叙事、戏剧化叙事、谣曲化叙事四个层面展开，以发掘、评判其在现代诗歌史上的历史贡献、价值、功能及局限等。40年代叙事长诗中的&抒情化叙事&策略主要体现于&情&与&事&的高度艺术融合，抒情形态表现在抒情结构与抒情语言方面；其抒情策略大体有两种方式：一是诗中人物的自我抒情，一是诗人自己或叙述人的抒情。40年代叙事诗人进一步发展了前人创造的&情绪型&叙事诗这种现代叙事诗的结构模式。

But in the course of internationalization, they meet with misunderstanding and puzzlement.

许多企业已经意识到了这一点，但在国际化的进程中，仍存在一些误区与困惑。

Inorder toaccomplish this goal as quickly as possible, we'll beteamingup with anexperienced group of modelers, skinners, and animatorswhosenames willbe announced in the coming weeks.

为了尽快实现这个目标，我们在未来数周内将公布与一些有经验的模型、皮肤、动画制作小组合作。