荒诞

基本解释 (translations)

absurd

与荒诞相关的网络例句 [注：此内容来源于网络，仅供参考]

Of or relating to absurdism or the absurd .

荒诞主义的，荒诞的

But in the fact,"absurdism"is not able to sum pinter's writing style,pinter's works inosculate both the character of realism and absurdism.

但事实上，品特的创作风格远不是"荒诞派"所能概括的，品特的作品既有现实主义的传统因素，也显示出了鲜明的荒诞派特征。

Camus" exploring about "how to affront with absurdity" didn"t stop on "the absurdist", he had a profound thinking on it, namely,"the stranger"s Eigentlichkeit survival manner.

因为加缪对"如何面对荒诞"的回答并没有仅仅停留在"荒诞人"的层面上，而是有其更深刻的思考，即"局外人"追求本真的生活方式。

However,with regard to the absurd features embedded in his works,there is hardly a definite overall assessment or any other adequate explanation,though some critics have occasionally mentioned his affinity with the absurdist playwright Samuel Beckett in dramatic creation,or pointed out some similarities between specific works of the two dramatists.

然而，奥尼尔作品中体现的荒诞性特征却一直没有得到系统的评价与阐释，尽管也有评论家偶尔提到他与荒诞派戏剧家塞缪尔·贝克特的某些相似性或者指出了其具体作品中的某些相同点。

Their waiting in drunken illusions is the means of survival for modern man designated by O'Neill who is deeply influenced by the Nietzschen philosophy and impending World War II. Waiting for Godot exposes the absurd existence of modern man as well as Beckett's uncertainty of the world and concerns about human prospects under the impact of World War II and absurdist theories based on existentialism.

然而，不同的社会、文化背景又使得三剧的"等待"主题具有各自不同的特征：工会成员对老左的等待具有现实性，表现了他们对一位无产阶级领导人的忠贞；房客对希基的等待既具有现实性，又具有荒诞性，在酒精和白日梦中的等待是奥尼尔为处于现代社会绝境中的人们指出的生存之路；流浪汉的等待反映出现代人存在的荒诞性，以及贝克特对世界的怀疑和对人类前景的忧虑。

From a perspective of the nature of the absurdness of the text, the absurd narrative method, the author's philosophy of writing and also the nature of the "laughter culture", this essay takes a few of the author's short stories as examples to analyze the poetic features of this post-modernist writer.

本文以作家若干重要的短篇小说为例，从文本荒诞的意义内涵、荒诞的叙事方式、作家创作的哲学理念和"笑文化"的具体内涵出发，深入分析了这位后现代主义作家创作的诗学特征。

The essay tries to look into the survival plight of modern people via the character Grego and author analyzes the absurdity of society through a single person and calls for a return of human nature.

本文试图通过对格里高尔这个"荒诞人"的人物形象的分析来深层窥视现代人的生存困境，由分析一个人对荒诞的最初体验到揭示社会的荒诞性，从而到达章显人性和呼唤人性回归的目的。

This writing attempts to explain Ms Su Yu"s work of absurdity genre and how Western existentialism and absurdity literature is employed as a creation theory and a source of writing techniques, combined with Albert Camus"s existentialistic anti-absurdity attitude, in presenting the theme of absurdity on a philosophic level, in revealing the absurdity of human existence and reality, in reflecting the modern human absurdity, in depicting the agonies and meaningless of life as well as the human complex of loneliness and anxiety, and alienation of human nature.

本文试图阐明女作家斯妤的荒诞小说创作，借鉴于西方存在主义哲学与西方荒诞派文学对于人类存在荒诞性的理论与技法，表现的是哲学意义层次的荒诞主题，以书写人的&生存荒诞&、现实的荒诞为主旨，主要反映当代人对于生存的荒诞感，描绘人生的苦痛与无意义，以及孤独、焦虑的情绪，揭示人性异化的丑陋，汲取了加缪存在主义的面对荒诞反抗荒诞的积极人生态度。

On the other hand, the influence of Absurd drama manifested mainly in the perspective of observing the world in later plays. Absurd drama reveals the uncertainty of the world by the skill of"simile way". Contemporary playwrights draw extensively and broadened the use of"simile way", and create the new simile symbols: anti-classic simile, anti-system simile and anti-meaning simile. At the same time they use a comprehensive simile to create a kind of sensual drama.Absurd drama also destroys the language function of traditional drama by rupture and desegregation, also tends to use "the language of no meaning," to reflect the world's essence. The contemporary generation create a physical theatre to expulse of the role of language. Another extreme is to strengthen language function thus creating a language game.

另一方面，荒诞派戏剧的影响力主要体现在后世剧作对客观世界的认知上：荒诞派通过&直喻&的手法来表现世界不确定性的本质，被后世剧作家广泛借鉴并且拓宽了直喻手法的使用，出现了反经典、反系统和反深度的直喻符号，同时另一个极端则是用剧场性的全面直喻创造了具有震撼力的感官戏剧；荒诞派通过破裂与解体的方法化解了传统戏剧的语言功能，更倾向于用&无义的语言&表达来体现世界的无义，后世剧作家在此基础上索性彻底驱逐了语言的作用从而创造了肢体戏剧，另一个极端则是强化语言功能创造了&语言游戏&。

His works are fanciful and weird. The unity of the fantastic content and strange form of Kafkaesque's works presents us successfully with a world of alienation for modern men. We can see the brilliance of the modern humanistic spirit through the complex and fanciful alienation world.

卡夫卡的作品荒诞、离奇，以一种与荒诞的内容相适应的荒诞的形式，成功地向读者展现了一个现代人的异化世界，充满了对生命孤独、世界荒诞、人的存在的痛苦以及对周围黑暗现实的顽强反抗等生命体验，透过这个纷繁复杂、光怪陆离的异化世界，闪耀的是现代人文精神的光辉，这种人文精神将激励和启发人们去追求自由和力量，让世界变得更美好。

与荒诞相关的网络解释 [注：此内容来源于网络，仅供参考]

absurd theatre：荒诞派戏剧

abstrusity 难解 | absurd theatre 荒诞派戏剧 | absurd 荒谬的

sound absurd：听起来荒诞

19.in store 贮藏着,准备着 | 20.sound absurd 听起来荒诞 | 21.imitate the real world 模仿现实世界

absurd being：荒诞的人

社会存在:social being. | 荒诞的人:absurd being | 大学生:subjective well-being

Absurd consciousness：荒诞意识

流浪意识:wandering consciousness | 荒诞意识:Absurd consciousness | 学科意识:Academic consciousness

absurdism：荒诞主义

abstractionism抽象主义;抽象表达/抽象主义的创作 | Absurdism荒诞主义 | associationism 哲学上的联想主义/说

absurdism：荒诞派

absolutism 绝对论;专制制度 | absurdism 荒诞派 | academicism 学院派

absurdist：荒诞派

"荒诞派"(absurdist)这个词作为文学术语开始流行,是从法国小说家暨评论家艾伯特.加谬(Albert Camus,1913-1960)用之形容将背景设定为被不可思议的体系所控制的小说开始的.

absurdist：荒诞主义者

absurdism 荒诞主义 | absurdist 荒诞主义者 | absurdity 荒谬

absurdist：荒诞派/荒诞主义者

absurdism /荒诞主义/ | absurdist /荒诞派/荒诞主义者/ | absurdity /不合理/悖理/可笑的事物/

absurdity：荒诞

呈现在这个展览中少有些微的荒诞(absurdity)与自我认知,也使得这件作品成为一个可喜的意外. 在这个「生原料」室中,还有诺曼的素描与计画与其它非霓虹灯作品. 自我观察是狄特罗斯(Dieter Roth)(Solo Scenes)是一面充满许多小单位屏幕的电视墙,