查询词典 literature and history

The Fourth Chapter: The Extreme and Limit of the Model Deconstructing (1985-1991) The introduction and importation of the contemporary western historical concept, the extension and deviousness of the history journey and the writers' personal special experience impelled the writers of the new generation to abandon the concept of the history and literature that they had had, and overwhelmed the classical mode of the narration about the Minguo Times completely.

第四章 模式消解的极致与限度（1985-1991）西方当代史学观念的介绍与引进、历史行程的延展性与几度的迂回性、作家自身的独特经历促使新一代作家抛弃既有历史观、文学观，完全颠覆民国叙事的经典模式：打破阶级界线、释放个人欲望、强调偶然不测，并用种种形式探索来显示历史叙述的主观性，创作了一批被称为"新历史小说"的作品。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的"表现"观念的历史考察着手，归纳出西方现代"表现"观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在"表现"观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的"否定性物象"来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

With the angle of view of the reader of puissance and authority to research Chinese contemporary literature is differ from the study of literary history, the study of history of literary thought, the research of authors and works, and the research of readers criticizing.

从权势权威型读者的视角来研究中国当代文学的发展，分析和探讨这种现象对中国作家及其作品的影响，是不同于过去那些专门对文学史、文学思想史的研究，以及对作者和作品的研究，也不同于一般的读者反映批评，从一般读者的视角来分析对作品的反映和接受美学的单项研究。

Librarian William Alfred Jones described his philosophy of acquisitions as "selectness, rather than great extent." In 1861 the books were arranged in ten alcoves, designated for theology, law, science, scientific journals, dictionaries and encyclopedias, Greece and Rome, history, ancient history, and literature.

图书馆员威廉·阿尔弗雷德·琼斯描述他的采集哲学是"精选，而非大范围"。1861年，图书馆藏书被排列在10个壁橱里，依次指定为神学、法律、科学、科学期刊、辞典和百科全书、希腊和罗马、历史、古代史以及文学。

This paper selects subjects from folklore, cultural anthropology, history, andother perspective to analyse literature, carrying on study by using culture prototype ofcriticism, the western tokenism, spiritual analysis, Chinese poetry and imagery, andother theoretical and research methods. It discusses, in the angle of history and reality,in text and out text, the function and impact of these various animal imagery throughthe specific interpretation and analysis. It also reveals the source of Chinese andforeign cultures and the reality of social resources behind Lu Xun love creating andusing animal imagery, as well as the authors inherent psychological characteristicsand cognitive structure.

论文选题对此从民俗学、文化人类学、历史学等角度观照文学，运用文化原型批评、西方象征主义、精神分析、中国诗学意象等理论与方法进行研究，通过对于种种动物意象历史与现实、文本与文本之外的具体解读与分析，探讨了它们在鲁迅作品中的作用与影响，揭示了鲁迅喜爱营造、运用动物意象其后的中外的文化渊源与现实的社会资源，及作者内在的心理个性与认知结构。

Firstly, by means of the man'-free-and-overall-development theory of the Maxthium , the author analyzes the Personal Literary Creation and confirms its value and significance as follow:the first,the emergence of the Personal Literary Creation means the vanishment of the laberal alienation ,ie,the personal authors' writings are not only the make-a-living means but the spontaneous displays of the human wills;the second, the Personal Literary Creation confirms "everyone' free development is the condition of all the people's progress",the human-liberating ideals of Marxism,and realises the all-round respects and concerns of the literature to human' diversity and peculiarity. Secondly, standing at the point of the contemprory Chinese history, it is right the individually depressed history in China that makes the Personal Literary Creation as the historical nacessarity. The emergence of the Personal Liberory Creation makes up to the limitation of the traditional public and representitive writing, and makes a great progress to diversifying the multi-cultural pattern in 90's of the last century, expanding the literatural domain, and displaying the complicated human natures.

本文首先运用马克思关于人全面自由发展的理论对私人化写作进行分析和观照，肯定其存在的价值和意义：一是私人化写作的到来意味着劳动异化的消除，作家的创作活动成为生命意志的自由表现，由手段上升为目的本身二是吻合了马克思人类解放的理想"每个人的自由发展是一切人自由发展的条件"实现了文学对人的丰富性、多样性、独特性的全面关怀与尊重；其次立足于当代中国的历史语境，它的出现弥补了一直以来公共化、代言式写作独占文坛的局限，在丰富九十年代的多元文化格局，拓展文学探索和表现丰富复杂的人性深度方面是一个很大的进步。

Through the study on the applied styles of Han dynasty, the aim is to understand thoroughly the complex mix up between the literary styles and applied, styles, and to enrich our understanding about the literature of Han dynasty, to largen our view about the history of ancient styles and the history of Chinese literary criticism.

通过对汉代应用文文体形态的研究，其目的在于更深入地理解中国古代文学文体与应用文文体之间复杂的交融关系，丰富我们对汉代文学的整体认识，拓宽文体史和文学批评史的研究视野。

The study of literature is not only civilized and civilizing — encompassing, as it does, philosophy, religion, the history of events and the history of ideas — but popular and practical.

文学的研究——包含对哲学、宗教、历史事件的发展和观念由来的研究，不仅是文明的，并且有教化作用，而且是流行的和实际的。

The study of literature is not only civilized and civilizing -- ecompassing, as it does, philosophy, religion, the history of events and the history of ideas -- but popular and practical.

文学的研究——包含对哲学、宗教、历史事件的发展和观念的由来的研究，不仅是文明的，而且有教化作用，而且是流行的和实际的。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的&表现&观念的历史考察着手，归纳出西方现代&表现&观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在&表现&观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的&否定性物象&来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

Plunder melds and run with this jewel!

掠夺melds和运行与此宝石！

My dream is to be a crazy growing tree and extend at the edge between the city and the forest.

此刻，也许正是在通往天国的路上，我体验着这白色的晕旋。