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艺术批评

与 艺术批评 相关的网络例句 [注:此内容来源于网络,仅供参考]

The young critics favor critical explore relates to the artistic form and the old critics make a good success of the practice in folkloric criticism, anthropologic criticism, mythic archetypes criticism, psychoanalytic criticism, new criticism, book reviewing, etc.

沈从文、李健吾的创作式批评张扬批评的想象性,重视读者的地位;朱光潜、李长之的知识型批评讲究各艺术品类的通约性,是新文学话语产生的理论源泉;梁宗岱、叶功超的对话型批评引进了一些"新批评",也将中国文学精华译介到西方,创造了新的文学生态环境,一定程度上改变了人们看现代文学的方式;林徽因的批评张扬了批评的"女性"意识:新老京派都在新批评方面有所探索:前者侧重于与艺术形式有关的批评探索:后者则在民俗学批评、人类学批评、"神话一原型"批评、精神分析学批评、英美新批评、书评等的实践方面成绩显著。

This kind of conception involving study of philosophy and features of fictions is finely embodied in his review of A Dream of Red Chamber and analysis of "ideal fiction".

而他的《红楼梦》批评和对"理想小说"的分析界定实际上就是这种讲求人生哲学内涵(来源:bfbfABC论文网www.abclunwen.com)和小说艺术特征的小说批评基本价值取向的集中体现。

Chapter Ⅴ is about the relationship between Empson's analytical explanation of Shakespeare's poetic effects and the scientific movement appeared in literary criticism in 1930s. In 20th century, influenced by development in natural science, New Critics, headed by Richards, devoted themselves to transferring literary criticism from literary enjoyment to scientific study.

第五章讨论了燕卜荪用分析的方法来阐释莎剧的诗意与30年代文学批评中出现的科学主义思潮的关系。20世纪受自然科学发展的影响,以新批评为主流的批评家们在瑞恰兹的推动下,致力于将文学批评从一种艺术欣赏变成科学研究。

Chinese culture lacks culture criticism, but the criticism and introspectiveness is the pushing force for the national progress. Without the pushing of criticism and reflection, the nation and culture including art will not make progress.

中国的文化里是缺少批评文化的,而批评与自省是民族进步的力量,如果没有批评和自省的力量来推动,那么民族和文化包括艺术都不会有进步。

Gombrich's theoretical contributions, which range over a variety of fields including psychology of art, art vision recognition, the logic of art history, the theory of the changing of style and the theory of value of art, are based on the grounds of the scientific philosophy and methodology of Popper, which consist of Falsificationism, the method of trial and error, epistemology, the criticism of historism, the three worlds theory and realism.

贡布里希的理论成就在于艺术理论诸领域,其中包括艺术心理学、艺术视觉认知、艺术史逻辑、风格变迁理论以及艺术价值理论,这些理论成就所对应的科学哲学和方法论基础,是波普尔的系列理论成果——证伪主义、试错法、认识论、历史主义批评、三个世界理论以及实在论。

Much as Gao's analysis is used to critique the problems arising from the West's selection of contemporary Chinese art, the application of this realist reflectionist approach on contemporary art is also remarkably popular among critics in China today.

高名潞的这段论述虽然是用来批评西方在选择中国艺术时出现的问题,但用这种现实主义反映论来论证当代艺术的方法在中国当下的评论界也随处可见,他们把前卫艺术的介入社会,理解成反映社会,然后把反映社会现实的作品当作当代艺术,所谓的现在是数码时代,艺术要反映数码,现在是卡通时代,艺术要反映卡通,还有就是高名潞所批评的,只要在艺术中反映了一点中国的变化就是当代艺术,而其实它只是现实主义反映论的一种表现,鲁虹等人的文章都属于这一类,我称为&改革开放现实主义艺术&模式,我们看到今天的中国艺术和评论都是在这种模式中制造当代艺术的假象。

If I were to say, on the contrary, that the best picture was that which most closely imitated nature, I should assume that art could only please by imitating nature; and I should cast out of the pale of criticism those parts of works of art which are not imitative, that is to say, intrinsic beauties of colour and form, and those works of art wholly, which, like the Arabesques of Raffaelle(2) in the Loggias, are not imitative at all.

相反,如果我说最好的画就是模仿自然最接近的画,我是假定艺术只有模仿自然才能给人愉悦,我批评时就会抛开那些不是模仿的艺术作品,即具有内在色彩和形式美的作品,以及像拉斐尔在梵蒂冈宫绘制的壁画那样毫无模仿的艺术作品。

If I were to say, on the contrary, that the best picture was th at which most closely imitated nature, I should assume that art could only pleas e by imitating nature; and I should cast out of the pale of criticism those part s of works of art which are not imitative, that is to say, intrinsic beauties of color and form, and those works of art wholly, which, like the Arabesques of Ra ffaelle in the Loggias, are not imitative at all.

相反,如果我说最好的画就是模仿自然模仿得最逼真的画,我是在假定艺术只有模仿自然才能给人愉悦,我批评时就会抛开那些不是模仿的艺术作品,即具有自身色彩美和形式美的作品,以及像拉斐尔在梵蒂冈宫给绘制的壁画那样毫无模仿的一切艺术作品。

According to the writer, Li balances literary critics w...ith other artistic categories, and appreciates critical works from the height of aesthetics. From Li's brand-new perspective, critique is not only"independent"but also"artistic", which is of remarkable significance as regards its implication in the revolutionary changes of literary criticism. The 2nd chapter"literary criticism is a form of discovery", literarily refers to Li Jianwu stressed that critic main body consciousness to text permeating, and his claims on critics'subjectivity and capabilities in aesthetic judgments. The writer concludes Li's ideas as the three following aspects:"critique is self-discovery","critique is the discovery of the writer's mind", and"critique is the discovery of humanity in literature", and gives full illustration one by one.

他把文学批评放在了与其他艺术品类平等的位置,并且从审美的高度衡量文学批评,认为批评是&独立的批评&,也是&艺术的批评&,其意义非常深远,具有文学批评革命性的改变这一意味在里面;第二章&文学批评是一种发现&指的是李健吾强调批评家主体意识对文本的渗入,要求发挥批评家的主体作用和审美判断能力,笔者将此概括为:&批评是自我的发现&、&批评是作家心灵的发现&、&批评是作品中人性的发现&三个方面,并一一进行阐释;第三章重点论述李健吾文学批评的模式。

However,at the beginning of the 1960s,with the Minimalism,Pop Art,Op Art and other streams of novel art appearing in succession,Greenberg\'s Formalism is challenged.

但是,60年代伊始,随着美国极少主义、波普艺术、欧普艺术等新艺术的相继出现,格林伯格倡导的形式主义批评遭遇到了严峻地挑战。

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