诗

基本解释 (translations)

poem  ·  poetry  ·  verse  ·  verses  ·  versing  ·  poems  ·  vv

词组短语

longs and shorts · The Book of Songs

与诗相关的网络例句 [注：此内容来源于网络，仅供参考]

On the poet's choice, mainly be decided by two standards, one is the popularity and influences of works; two is the meaning of the creations development that it create for the whole colony. Owing to above two standards, the writer chooses seven writers to launch the treatise, they are Jidi Maja, Jimu Langge, Luwu Laqi, Ma Deqing, Aku Wuwu , Asu Yuer, Eni-Mushashijia. In discussing the process, the writer used the nationality and Poetics of the poem as the latent clues, emphasized to inquiry into three main roads and three main realms. On the article structure, the full text mainly is divided into two parts, one is the concrete imago analysis to each poet creations, two is upon the analytical foundation the integration of the theories, with this the treatise could be united into an organic whole. In regard to the conclusion, we educe the characteristics of the colony is deep consciousness to the nation culture, also extensive exploration and attention to poetics. The blemish is the inside emotion and sensibility is similar or duplicate and that the creation pattern is narrow. The main develop threads of the colony are upon the female clan culture the diverse poem skill investigation, its nation culture value tropism present the rising spiral type of return- leave- return again.

在研究方法上，本文以意象分析法为贯穿全文的主要方法，通过对意象的具体分析来透视凉山诗群的诗歌世界；在诗人的选择上以其作品的影响力及意义为标准，选择了这一诗群的七位诗人展开论述，他们分别是吉狄马加、吉木狼格、倮伍拉且、马德清、阿库乌雾、阿苏越尔、俄尼·牧莎斯加；在论述过程上，笔者以诗歌的民族性和诗性作为前后贯穿的潜在线索，着重探讨了这一诗群创作的三个主要倾向和三个主要领域，前者详论，后者略述，具体表现在对前三位诗人的论述以诗人论的形式详细展开，探讨他们所代表的凉山诗群发展过程中的三个主要创作倾向，即民族文化的深层开掘、诗艺的实验性探索和艺术哲学的尝试性建构，对后四位诗人的论述则以主题的方式展开，探讨他们所代表的凉山诗群在爱情诗、乡土诗和文化诗三个领域的探索；在文章结构上，全文主要分为两大板块，一是对各位诗人创作的具体意象分析，二是在前文分析的基础上进行理论的整合，以此将前面散珠似的论述贯穿成一个有机整体；在结论上，我们通过整合得出：1、凉山诗人群新时期以来诗歌创作的大致发展脉络：在母族文化的基质之上的多元诗艺探索，其民族文化价值取向呈现为回归—离去—再回归的螺旋式上升形态；2、新时期彝族凉山诗人群汉语诗歌创作的特点，即民族文化意识的深层自觉，对诗性的关注和探索；3、新时期彝族凉山诗人群汉语诗歌创作的缺陷，即情感意蕴的雷同和创作格局的狭小。

In recent years, with the growing concern on the antiphony of Tang dynasty, researchs began to pay attention to joint sentences poem. To my point of view, the reason of low achievement of poem-joint sentences is the insufficience of further study and the limitation of reserch range, particularly the joint sentence poem of Tang Dynasty lacks further reserch and integrate reserch system. So I determined to make the joint sentences poem of Tang Dynasty ( the 1st year of Gaozu Wude-the 4th year of Xuandi Tianyou ,year 618–year 907) to be the study subject of my thesis.

近年来随着对唐代唱和诗越来越多的关注，研究者们也开始留意唱和诗中一种特殊的形式——联句诗，但笔者所见之文章多因联句诗总体创作成就不高的原因，或笔墨过于节省，或泛泛而谈、不够深入，或者囿于点的探讨和积累，对联句诗特别是联句诗发展黄金期的唐代尚缺乏进一步详细地整理和系统研究，这一现状使我确定了以唐代(高祖武德元年618年——宣帝天佑四年907年)联句诗为本文的研究对象。

The form discussion studies Liang Zongdai and Ye Gongchao respectively introduced and spreaded the French imagism and British and American formalism. The Poem special issue in the literature and art supplement of Ta kung Pao Newspaper and New Poetry organized twice discussions in poetic forms. The pure poetry school introduced that the modernists introduced the western and ancient pure poetry theories: from Baudelaire, Mallarme, Vale'ry, H. Read, A. Bremond to J.M. Murray, and the basic idea and difference of pure poetry. Besides, a lot of modem poets became greatly interested in pursuit heat of the pure poetry in late Tang and Nan Song dynasties, studying the development and variation of pure poetry. Music theory argues that modernists make introduction and reform on the western and Chinese music theory. He Qifang and Bian Zhilin continue the topic to the contemporary time, and put forward the theoretical frames in Chinese poetry. Rhyme and rhythm theory make researches on the introduction and reform of French symbolism and British and American modernists' rhyme and rhythm theory, making studies on the Chinese new form poetry and its thyme and rhythm theory.

纯诗论是形式论的重心；对西方和古代的纯诗理论之引入，引进了从坡到波德莱尔、马拉美、瓦莱里、默里、里达、白瑞蒙的纯诗理论；纯诗理论的基本内涵与差异；诸多现代派诗人掀起了晚唐南宋纯诗热，对姜夔、严羽作了新的理解；对纯诗理论的发展和变异，含梁宗岱的现象学形式论，何其芳的唯美论与形式论，现代派诸人的诗本体论；梁宗岱对纯诗理论的中国化研究，含梁宗岱的超越性与形式性，"超验"与"妙悟"的比较研究与形态超脱性的比较研究；中西纯诗形态的超脱性等；现代派纯诗论是对初期白话诗理论的清算，对新月派、象征派探索的总结和发展，音乐论是对纯诗论的延伸和对格律论的发展；现代派引入研究了西方诗学音乐论理论，含坡、瓦莱里、里德的纯诗音乐论、抽象音乐论、各种具体的音乐论技术论点；引入了中国古代诗学中关于诗与音乐、音韵、音顿、音义、平仄双声叠韵等音乐的理论；进行了两次关于新诗音乐论的大讨论；在节奏、音顿、音韵三方面借鉴了西方的理论，同时改造了古代的格律理论，扬弃了平仄说，何其芳、卞之琳把新诗音乐论命题延续到当代，提出了汉诗音乐论的理论框架。

Thisarticle attempts to study the formation, characteristics and humanistic implications ofChinese hymnody in three chapters. Chapter 1 introduces the formation anddevelopment of Chinese hymnody from the political, religious, and culturalperspectives. Chapter 2 analyzes the various features of Chinese hymnody anddemonstrates that Chinese hymnody is a synthesis of Chinese and western culture andmusic. Chapter 3 explains the value, significance and influence of Chinese hymnodytoday from cultural, progressive, and aesthetic perspectives.

第一章简介了中国基督教圣诗音乐生成的政治及宗教文化背景，指出其对中国基督教圣诗音乐的作用与影响，并梳理了中国基督教圣诗音乐本色化发展概况；第二章论述了中国基督教圣诗音乐的多样性及崇拜性表现特征，从词曲的来源、和声的民族化及在崇拜中的表现特征分析中国基督教圣诗音乐中西融汇的多元特征；第三章是从人文角度对中国基督教圣诗音乐的透视，从其文化内涵、现代性变迁及审美取向来三个方面阐明了中国基督教圣诗音乐在当代的价值、意义及影响。

Aromatic essential oil can be extracted from about 500-600 kinds of plants,馥诗华 chemists and botanists have selected the most common, safest, most effective and popular 39 aromatic essential oil, among which: orange flower, rose, jasmine, bergamot, lavender, lemon, sandalwood, myrrh, mastic, rosemary, black pepper, cinnamon, clove, Marjoram and chamomile essential oils are outstanding!

有500－600种植物可提炼出芳香精油，馥诗华的化学家、植物学家精选了最常用、最安全的、最见效的、最受欢迎的39种芳香精油，其中：橙花、玫瑰、茉莉、佛手柑、薰衣草、柠檬、檀香、没药、乳香，迷迭香，黑顶胡椒、肉桂、丁香、马郁兰、洋甘菊、十五种精油最为杰出！

A19 line poem of fixed form consisting of five tercets and a final quatrain on two rhymes , with the first and third of the first tercet repeated alternately as a refrain closing the succeeding stanzas and joined as the final couplet of the quatrain .

田园诗一种有固定格式的19诗；由五个三押韵的诗节和一个四诗节组成，其四诗节有二个韵，在第一个三押韵诗节中，第一和第三作为结束后继诗节的重复句间隔地重复出现，并作为四诗的结尾对句一起再现

A19 line poem of fixed form consisting of five tercets and a final quatrain on two rhymes , with the first and third lines of the first tercet repeated alternately as a refrain closing the succeeding stanzas and joined as the final couplet of the quatrain .

田园诗一种有固定格式的19诗；由个三押韵的诗节和一个四诗节组成，其四诗节有二个韵，在第一个三押韵诗节中，第一和第三作为结束后继诗节的重复句间隔地重复出现，并作为四诗的结尾对句一起再现来源：词友

This paper mainly consists of five parts. The Introduction mainly defines the scope and relative concepts, and covers the present situation of research about it. The first chapter traces the Seeing-off-poetry's cultural origin, classifies its emotion contents and artistic achievements, and differentiates the flows from the base of comprehensive reorganization of the Seeing-off-poetry from pre-Qin to latter-Han Dynasty. The second chapter studies its variations about styles, artistic expressions, and gentries' spirit features. And in this part we also discuss the reasons of Four-word-see-off-poetry's booming and its peculiarities in Jin Dynasty. The third chapter demonstrates the influence on Seeing-off-poetry in the Early and Glorious Ages of Tang Dynasty such as the construction ways, poetry images and emotion styles. The Appendix enumerates all the 465 Seeing-off poems' tittles, authors, their birth and dead time, writing time and sources of quotation one by one, so that all of them can be checked to prepare the investigation.

论文主要有五个部分：&绪论&重在界定魏晋南北朝送别诗的研究范围和相关概念，并对其研究现状作一全面回顾；第一章&送别诗溯源&，在全面整理先秦两汉送别诗的基础上，对《诗经》以来送别诗的文化渊源、情感內容和艺术成就分类概说，辨明其源流；第二章&魏晋南北朝送别诗研究&，从诗体、艺术表达、士人精神风貌三个角度研究这一时期送别诗的演变，并探讨两晋时期四言送别诗的繁盛原因及其特点；第三章&对唐代送别诗影响&，从建构方式、诗歌意象、情感风格三个方面论证魏晋南北朝送别诗对初盛唐送别诗的影响；&附录&部分列出魏晋南北朝送别诗系年一览表，分朝代逐条列举魏晋南北朝465首送别诗的诗题、作者、生卒年、创作时间及其出处，以备查考。

On the poet's choice, mainly be decided by two standards, one is the popularity and influences of works; two is the meaning of the creations development that it create for the whole colony. Owing to above two standards, the writer chooses seven writers to launch the treatise, they are Jidi Maja, Jimu Langge, Luwu Laqi, Ma Deqing, Aku Wuwu , Asu Yuer, Eni-Mushashijia. In discussing the process, the writer used the nationality and Poetics of the poem as the latent clues, emphasized to inquiry into three main roads and three main realms. On the article structure, the full text mainly is divided into two parts, one is the concrete imago analysis to each poet creations, two is upon the analytical foundation the integration of the theories, with this the treatise could be united into an organic whole. In regard to the conclusion, we educe the characteristics of the colony is deep consciousness to the nation culture, also extensive exploration and attention to poetics. The blemish is the inside emotion and sensibility is similar or duplicate and that the creation pattern is narrow. The main develop threads of the colony are upon the female clan culture the diverse poem skill investigation, its nation culture value tropism present the rising spiral type of return- leave- return again.

在研究方法上，本文以意象分析法为贯穿全文的主要方法，通过对意象的具体分析来****凉山诗群的诗歌世界；在诗人的选择上以其作品的影响力及意义为标准，选择了这一诗群的七位诗人展开论述，他们分别是吉狄马加、吉木狼格、倮伍拉且、马德清、阿库乌雾、阿苏越尔、俄尼·牧莎斯加；在论述过程上，笔者以诗歌的民族性和诗性作为前后贯穿的潜在线索，着重探讨了这一诗群创作的三个主要倾向和三个主要领域，前者详论，后者略述，具体表现在对前三位诗人的论述以诗人论的形式详细展开，探讨他们所代表的凉山诗群发展过程中的三个主要创作倾向，即民族文化的深层开掘、诗艺的实验性探索和艺术哲学的尝试性建构，对后四位诗人的论述则以主题的方式展开，探讨他们所代表的凉山诗群在爱情诗、乡土诗和文化诗三个领域的探索；在文章结构上，全文主要分为两大板块，一是对各位诗人创作的具体意象分析，二是在前文分析的基础上进行理论的整合，以此将前面散珠似的论述贯穿成一个有机整体；在结论上，我们通过整合得出：1、凉山诗人群新时期以来诗歌创作的大致发展脉络：在母族文化的基质之上的多元诗艺探索，其民族文化价值取向呈现为回归—离去—再回归的螺旋式上升形态；2、新时期彝族凉山诗人群汉语诗歌创作的特点，即民族文化意识的深层自觉，对诗性的关注和探索；3、新时期彝族凉山诗人群汉语诗歌创作的缺陷，即情感意蕴的雷同和创作格局的狭小。

The form discussion studies Liang Zongdai and Ye Gongchao respectively introduced and spreaded the French imagism and British and American formalism. The Poem special issue in the literature and art supplement of Ta kung Pao Newspaper and New Poetry organized twice discussions in poetic forms. The pure poetry school introduced that the modernists introduced the western and ancient pure poetry theories: from Baudelaire, Mallarme, Vale'ry, H. Read, A. Bremond to J.M. Murray, and the basic idea and difference of pure poetry. Besides, a lot of modem poets became greatly interested in pursuit heat of the pure poetry in late Tang and Nan Song dynasties, studying the development and variation of pure poetry. Music theory argues that modernists make introduction and reform on the western and Chinese music theory. He Qifang and Bian Zhilin continue the topic to the contemporary time, and put forward the theoretical frames in Chinese poetry. Rhyme and rhythm theory make researches on the introduction and reform of French symbolism and British and American modernists' rhyme and rhythm theory, making studies on the Chinese new form poetry and its thyme and rhythm theory.

纯诗论是形式论的重心；对西方和古代的纯诗理论之引入，引进了从坡到波德莱尔、马拉美、瓦莱里、默里、里达、白瑞蒙的纯诗理论；纯诗理论的基本内涵与差异；诸多现代派诗人掀起了晚唐南宋纯诗热，对姜夔、严羽作了新的理解；对纯诗理论的发展和变异，含梁宗岱的现象学形式论，何其芳的唯美论与形式论，现代派诸人的诗本体论；梁宗岱对纯诗理论的中国化研究，含梁宗岱的超越性与形式性，&超验&与&妙悟&的比较研究与形态超脱性的比较研究；中西纯诗形态的超脱性等；现代派纯诗论是对初期白话诗理论的清算，对新月派、象征派探索的总结和发展，音乐论是对纯诗论的延伸和对格律论的发展；现代派引入研究了西方诗学音乐论理论，含坡、瓦莱里、里德的纯诗音乐论、抽象音乐论、各种具体的音乐论技术论点；引入了中国古代诗学中关于诗与音乐、音韵、音顿、音义、平仄双声叠韵等音乐的理论；进行了两次关于新诗音乐论的大讨论；在节奏、音顿、音韵三方面借鉴了西方的理论，同时改造了古代的格律理论，扬弃了平仄说，何其芳、卞之琳把新诗音乐论命题延续到当代，提出了汉诗音乐论的理论框架。

与诗相关的网络解释 [注：此内容来源于网络，仅供参考]

Hennessy Paradis：轩尼诗杯莫停

轩尼诗杯莫停 开放分类:酒 轩尼诗杯莫停(Hennessy Paradis) 为轩尼诗干邑中的极品,含有极陈年的酒,自公司创立以来一来蕴藏至今,罕贵名酒,至香至醇. 在葡萄丰收年中,轩尼诗家族通常会特别精藏数桶极品干巴白兰 广东省

A Night in Conversation with the Poet Bly：[与与与与诗诗诗诗人人人人勃勃勃勃莱莱莱莱一一一一夕夕夕夕谈谈谈谈]

6) Walt Whitman [华华华华尔尔尔... | 7) A Night in Conversation with the Poet Bly [与与与与诗诗诗诗人人人人勃勃勃勃莱莱莱莱一一一一夕夕夕夕谈谈谈谈] | 8) Outside My Room It Seems to Rain Everyday [好好好...

poem：诗

那么什么是"诗"(poem)呢?诗体?诗理念?诗形式?不然. 诗是情感的积累和文体形式及修辞的运用融合?亦不尽然. 那么古今中外,诗所以存在的"诗质"是什么呢?认知美学体系以审美关系发生学为基础创建了自己的理论系统,受此启发,

A poem：[诗诗诗诗章章章章]

11) Reading Paul Aluya [读读读读保保保保尔尔尔尔 爱爱爱爱路路路路亚亚亚亚] | 12) A Poem [诗诗诗诗章章章章] | 13) Fragments #3 [断断断断章章章章之之之之三三三三]

I. The Black Night: A Prefatory Poem：[黑夜黑夜黑夜黑夜::::序诗序诗序诗序诗]

6) The Black Desert [ 黑色沙漠黑色沙漠黑色沙漠黑色沙漠] | I. The Black Night: A Prefatory Poem [黑夜黑夜黑夜黑夜::::序诗序诗序诗序诗] | II. The Black Swamp [ 黑色沼泽黑色沼泽黑色沼泽黑色沼泽]

quatrain：四行诗

英诗的四行诗格尤以狭义的四行诗(quatrain)最近似绝句形式. 四行诗的韵脚比较多,译者按原诗的诗思节奏,择用aabb尾韵. 为了押好韵脚,译者在诗句的语序方面做了必要的调整. 例如第二行采用介词短语前置的句式("Like an upended stream the cataract sounds loud"),

verse：诗

以上我定义的是狭义的诗歌,即严格地称为"诗"(Verse)的东西,其要点是使用语言作为手段. 类似"我们指着一首诗说这就是诗". 但诗并不是只在诗里,谈到风景和情景时,有时谈到人时,我们说它(他)们"有诗意". 这后一种情况,

versification：诗律

尽管意象派诗歌在当时确实堪称"新潮诗",但是这些新潮诗本身并没有激进到完全废除韵律(rhyme)的程度,在强调自由诗的同时也追求不完美韵(imperfect),并没有把自由诗降格为无体诗,更不极端反对诗律(versification)及做诗的基本法则(rules),

Earlier Poets：[更更更更早早早早的的的的诗诗诗诗人人人人们们们们]

36) Reading a Copy of a 1919 Shanghai Paper [读读读读1919 年年年年申申申申报报报报] | 37) Earlier Poets [更更更更早早早早的的的的诗诗诗诗人人人人们们们们] | 39) In Sickness [病病病病中中中中]

Concrete Poetry：具体诗

文章摘要:具体诗(concrete poetry)属于视觉诗的一种,是视觉诗的现代和后现代表现,经常与先锋派、试验派相提并论,属于文学的一种特殊现象. 具体诗是诗人通过字母、单词或符号所组成的图案而创作的诗. 它不像传统诗那样只是按时间上的线性发展形式来安排词句.