1) classical poetics
古典诗学
1.
The "Wei" in Chinese classical poetics mainly embodies in three aspects: the first is praising "Wei" as the poetry aesthetic root;the second is probing its aesthetic characteristic and demand;the third is inspecting its creating and product.
我国古典诗学视野中的诗味论,主要体现在三个维面:一是对“味”作为诗歌审美之本的标树,二是对诗味审美特征与要求的探讨,三是对诗味创造与生成的考察。
2.
In fact,Tagore inherited and developed the writing ways and aesthetic judgment advocated by Indian classical poetics while he pursued the modernity.
作为印度文学从传统向现代转换时期的关键人物,泰戈尔的文学世界里自然显现了很多现代性的特征,但这并不就意味着泰戈尔的文学创作已经放弃了对印度本民族文学与文化传统的继承与接受,事实上,泰戈尔在追求现代性的同时,不仅没有背离文学传统,反而将印度古典诗学所倡导的文学创作方法和审美价值取向广泛继承并发扬光大。
3.
Knowledgeability was always present in the formation and development of Chinese classical poetics.
中国古典诗学的形成和发展当中,始终存在着一个学问化问题;它不仅表现为一般文学史和文学批评史所描述的某一时期或流派所集中体现的“以学问为诗”等片断性现象,而是伴随着古典诗学历程强弱参差地形成一个持续性过程;这一过程的基本趋向是以踵事增华的方式由弱渐强,并在诗歌创作和诗学理论批评两个方面展开。
2) ancient poetry
古典诗学
1.
The criticism on orthodox school and variation of Chinese ancient poetry has gone through five stages:the pre-Tang Dynasty,the producing and beginning stage,the Tang and Song Dynasty,the lying low and expanding stage,the Yuan Dynasty,the changing and rising stage,the Ming Dynasty,the flourishing and deepening stage,and the Qing Dynasty,the deepening and dispelling stage.
我国古典诗学中的正变批评经历了五个发展阶段,可概括为:唐前:古典诗学正变批评萌生与起点确立;唐宋:古典诗学正变批评潜伏流贯与展开;元代:古典诗学正变批评着力点转变与称名出现;明代:古典诗学正变批评盛兴与诗体正变辨析深入;清代:古典诗学正变批评深化与得到消解。
2.
The discussion on Chinese poetical meters in view of ancient poetry is carried on mainly in four aspects: the first is a parade of the meter as the root of poetic aesthetic;the second,a probe into its aesthetic characteristics and requisition;the third,an inspection of its creation and production; the fourth,introspection on the poetical meter theory.
我国古典诗学视野中的诗格论,主要在四个维面上展开:一是对“格”作为诗歌审美之本的标树;二是对诗格审美特征与要求的探讨;三是对诗格创造与生成的考察;四是对诗歌“格调”之论的理论反思。
3) classical poetry
古典诗学
1.
There exist various time factors in classical poetry.
古典诗学中的时间表现形式具有明显的中国传统文化特色。
2.
So, Chinese classical poetry Pays great attention to the relations between emotion and art, and further more, gives a full interpretation to the emergences and the types of art in its own view.
中国古典诗学十分关注情感与艺术的关系，并从这一角度对艺术发生以及艺术形态进行了充分地阐述。
4) classical Tang poem study
古典唐诗学
1.
Wang Guowei and classical Tang poem study surmounting;
王国维与古典唐诗学的超越
5) Chinese classical poetics
中国古典诗学
1.
This paper,based on accurate historical facts,argues that Chinese classical poetics,with its unique oriental aesthetic perspective,has exerted a great influence on the movement of Imagism in poetry initiated by Ezra Pound in the early 1900s.
博大精深光辉灿烂的中国古典诗学以其独特的东方审美意识,极大地影响和推动了由艾兹拉。
补充资料：古典与新古典资本流动动因论
古典与新古典资本流动动因论
古典与新古典资本流动动因论古典资本流动理论认为国际资本流动的主要原因在于各国资本要素的价格(即利率)存在着差异该理论假设各国的商品和生产要素市场是完全竞争市场，资本要素的国际流动没有任何障碍.有充分的流动性;同时.各国资本要素察赋的存量或相对供给量不尽相同。在这种情况下，如果A国资本比B国更为稀缺，则A国资本要素的价格即长期利率必定高于B国，因此，B国的资本必将为A国的高利率所吸引而流向后者。这种流动将持续到两国的利率水平相等时为止。新古典资本流动理论则认为国际资本流动的主要原因在于各国资本边际生产力的不同及预期报酬率的差异。该理论认为，资本的边际生产力是指每追加一个单位的资本所能带来的产出品价值的增加量。一般来说，在资本丰饶的国家，资本的边际生产力较低，而在资本稀缺的国家，资本的边际生产力较高。资本总是倾向于从边际生产力较低的国家或地区流向边际生产力较高的国家或地区。资本在国际间自由流动之后，将使资本的边际生产力在国际上平均化，从而可以提高世界资源的利用效率，增加全世界生产总量和提高各国的经济效益。
说明：补充资料仅用于学习参考，请勿用于其它任何用途。
参考词条