说明:双击或选中下面任意单词,将显示该词的音标、读音、翻译等;选中中文或多个词,将显示翻译。
您的位置:首页 -> 词典 -> 古曲神韵
1)  Ancient Spirit
古曲神韵
2)  Ancient Melodies
《古韵》
1.
Autobiography,gender and history: reading of Lin Shuhua s Ancient Melodies;
自传、性别与历史:对凌叔华《古韵》的解读
3)  ancient rhyme
古韵
1.
Investigating the ye vowels of Shijizhuan(Eight-volumed),it has been found out that Zhu Xi\'s ancient rhyme categories has 1 5 stretch syllable rhymes categories and 7 entering tone categories and those in the Eight-volumed are quite diffferent from the twenty-volumed.
对朱熹《诗集传》(八卷本)叶音作古韵分部考察,考得朱熹叶音古韵舒声15部、入声7部,与二十卷本叶音古韵多有不同。
2.
The ancient rhyme study in Manchu dynasty was a scientific and systematical study and the breakthrough made at that time was decided by a set of methods induced by the scholars in Manchu dynasty.
清代古韵研究之所以走上科学化、系统化的道路,取得突破性的进展,取决于清代古音学家总结的一套科学有效的方法。
4)  Lügu Ciqufu Xieyuntong
律古词曲赋叶韵统
1.
Based on several rhyme books and rhyme tables such as Lügu Ciqufu Xieyuntong(律古词曲赋叶韵统),this paper describes some phonetic characteristics of the Hui dialect in the late Ming dynasty:1)There were three kinds of dental initials,which came from Zhang group(章组),Zhuang group(庄组),Zhi group(知组)and Jing group(精组)of Middle Chinese.
本文利用《律古词曲赋叶韵统》等几种明末徽州音韵资料,考察明末徽州方音的特点。
5)  spirit [英]['spɪrɪt]  [美]['spɪrɪt]
神韵
1.
Zhu tries to retain the spirit of the original as much as possible.
本文从分析一代翻译楷模朱生豪的生平和译作入手,探究其"志在神韵"的翻译观,他在中国翻译思想史上所起的承上启下的重要作用,以及他对中国传统译论的形成起到了不可或缺的枢纽作用。
2.
,more likeness in spirit.
但其中仍有不尽人意之处 ,略显神韵不
3.
, Wang Shizhens spirit , Shen Deqians style , Yuan Meis temperament and Weng Fanggangs texture , and their respective origins and influence on the literary circles then.
本文论述清代四大诗说即:王士祯之“神韵”、沈德潜之“格调”、袁牧之“性灵”、翁方纲之“肌理”各论之源出、主张及在清代文坛上的影
6)  Verve [英][vɜ:v]  [美][vɝv]
神韵
1.
The Verve in Shen Yinmo s Poetry:One Neglected Way of New Poetry Development;
沈尹默诗歌中的神韵——新诗发展中一条被忽视的线索
2.
Through analysis difference of <Moonlit night> and <Samisen>,the article conclude that there is verve in poetry of Shen Yinmo from the point of verve,and then it is try to prove that there have been a verve way of develop in the vernacular poetry which was started to appear and existence till to the poetry of YU Jian and Han Dong.
从神韵的角度,由分析《三弦》和《月夜》的表达差异入手,归纳出沈尹默诗歌创作中神韵化这一重要现象,并论证在中国新诗发展中存在着一条早在沈尹默诗歌中就已经出现,一直到于坚、韩东诗歌中都存在,却至今仍未得到学术界重视的发展方向:新诗神韵化。
3.
DuFu pays attention to verve,and enjoy the poem connecting modality with verve,he also pays attention to the truth or falsity to combine,and emphasize the imagination.
杜甫注重神韵,崇尚形神兼备之美,注重虚实结合,强调想象,认为画家要乘兴遣画,讲究经营位置,他的诗题画与咏怀相结合,延伸了画意,达到了诗画交融的境界。
补充资料:古韵
古韵

    汉语音韵学术语,以《诗经》为主的中国先秦两汉韵文的韵。传统音韵学关于古韵的研究,主要成就在于古韵分部。所利用的材料,主要是《诗经》韵字和《说文解字》的谐声偏旁,兼及先秦两汉韵文、重文、异文、通假、读若、音训等。其基本方法是首先系联《诗经》韵字,归纳韵部。然后根据谐声关系,扩大韵部范围,如此推衍,可得到完整的古韵系统,并将汉字分别归入各韵部。宋代吴棫著《韵补》,开始探求古韵面貌。明代陈第著《毛诗古音考》等书,考订古音,彻底廓清唐宋人以今音改读古韵的“叶韵”说的谬误,提出了古今音异的观点。清代顾炎武著《音学五书》,破除传统韵书的束缚,根据古韵实际归纳韵部,离析唐韵以求古音分合,并将今韵入声配阳声改为入声配阴声,分古韵为10部,其中阳、耕、蒸、歌四部已成定论。以后古音学家都是在顾氏工作的基础上,进行更加精密的研究。其中江永著有《古韵标准》,分古韵为13部,其贡献在于真元分部、侵谈分部,幽宵分部,侯部从鱼部分离出来归入宵部。段玉裁著有《六书音韵表》,分古韵为6类17部,其贡献在于支脂之三分、真文分部、侯部独立,并提出同谐声的字应在同一部古韵的理论。古韵分部至段氏大体已定。清戴震著有《声韵考》及《声类表》,分古韵为9类25部,每一类都阴声、阳声、入声三分,开阴阳入相配的先河。孔广森著有《诗声类》,分古韵为18部,把冬部独立;又提出“阴阳对转”的理论。王念孙分古韵为21部,江有诰也分古韵为21部。章炳麟分古韵为23部,晚年又主张冬侵合为一部,为22部。黄侃分古韵为28部。现代学者王力,主张脂微分部。古韵分部的工作,至此臻于完善。
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