查询词典 narration

In the third chapter, by analyzing the relationship of the enlightening narration and the narration of daily life which assisted, penetrated and covered with each other, we can find the distinct feature of Tie Ning"s novels: It has the kindness of daily life narratives in the enlightening of life .In addition, by analyzing the narration of daily life, double position of intellectual and Populace, and the distinct feature of Tie Ning"s novels which enlightening narration had been added into narration of daily life was presented.

第三部分，在全面分析自"五四"以来文学叙述中启蒙与日常生活叙事相互纠缠、遮蔽的关系，指出铁凝作品的独特性：生命启蒙之中透露着日常生活化的温暖，通过对其文本中日常生活叙事地分析，揭示其将启蒙叙事融注在日常生活叙事之中这一独特性，及其知识分子和平民化的双重立场。

William Faulkner's "Sound and the Fury", Akutagawa Ryunosuke's " In Bamboos ", Li Er "Huaqiang,"have three common points in narrating the matter and how fictionalize a story of a story , Which means it is on the fictional narration, acts as a fictional narration to achieve the fiction, that is, what kind of a fictional narration and how this fictional narration interpretate the interaction between these.

威廉·福克纳的《喧哗与骚动》、芥川龙之介的《竹林中》、李洱的《花腔》，三个文本的共同点是所叙之事是此篇小说如何虚构一个故事的故事，也就是说它是关于虚构的叙事，作为一种虚构行为来达到叙事的虚构，即虚构了怎样的叙事和如何叙事这种虚构关系的互动阐释。

When concerned narration time, they predigested modern narration time of western novel to hyperbaton narration, and then focused on " the abrupt beginning", and never grasped the flexibility that western novel narration time can cut time according to expression requirements; when concerned the narration angle,"I" in the works of new-novel critics is only the thread to link the stories, and the works never cares about the idea and sensation of "I"; when concerned the narration framework, for the obstinacy of the tradition of Chinese novel preference in plot, it is the most difficult to take in.

在小说的叙事时间上，新小说家把西方小说的现代叙事时间简化成了倒装叙事，又把倒装叙事集中在"开局突兀"上，根本没有领会西方近代小说叙事时间根据表达需要进行剪辑的灵活性；在叙事角度上，"新小说"家作品中的"我"只是串连故事的线索，作品根本没有关注我心里的思想和情感；在叙事结构上，因为中国小说重情节传统的顽固性，对西方小说叙事结构的接受也最难。

Second, based on the narrative structures of quatrain, it divides quatrains into four types: combination of narration and argument、combination of narration and description、combination of narration and illustration、narration in all.

笔者期望，通过对绝句这样一种抒情诗体的叙事性的研究，来重新认识中国古代抒情诗的民族特色以及重新建立中国古代抒情诗阅读与欣赏的新思路。

Seen from the perspective of narration theory the transformation of the narration distance and perspective adjusts the narration information.

从叙述学角度来看，叙述距离的远近和叙述视角的转换起着调节叙述信息的作用。

The narration idiosyncrasies of Chinese classical poesy differing from the West poesies are mostly behave in pay ing attention to express in indicate based on Fu,Bi,X ing ;giv ing prominence to sensibilities and life thoughts by emphasiz ing speech ideal and affection as narration motivation;form ing the narration style of blend ing the affection,opinion and affair by unionizing the space-time,the actual condition and the words-intention.

中国古典诗歌具有不同于西方诗歌的叙述特质，主要表现在：以赋、比、兴作为叙述基础，注重主观表达与客观效应统一；强调言志和缘情的叙述动机，突出作者情感体验和人生思考在叙述中的地位；追求时空、虚实、言意的统一，形成了情、理、事交融的叙述风格。

In the text practice of understratum narration, mistakes exist in a great quantity of works ,such as trumping up morality, discarding aesthetics, uglifying, jesting and pseudo tribulation narration, single dimension writing, which hold back the sound development of the current understratum narration in some extent.

而在底层叙述的文本实践过程中，有相当一部分作品在认识与表达上存在着不同程度的误区，比如道德虚构、美学脱身或丑化戏谑、伪苦难叙述、单向度写作等，一定程度上影响了当前底层叙述的健康发展。

Genette's theory of narration words, and with the different views of scholars from various countries in different times, the paper tries to understand deeply the narration method of narration work.

全文共分三部分：第一章概述，分析了&故事&与&话语&的关系，在此基础上对&语式&作了理论上的界定。

This paper attempts to study those typical texts in detail,on the basis of the in-depth analysis of the narrative art and techniques of the 1940's narrative poems,mainly from four aspects:the lyric narration,imagery narration, dramatic narration,"moledicized" narration,so as to explore and appraise their historical contribution,values,functions and limitations in the modem poem history.In the narrative poems in the 1940s,the technique of"lyric narration" is embodied mainly in the high degree of artistic integration of "felling" and "polt".The lyricism is fully embodied in both structure and language,and generally through two ways:the lyricism of the dramatis personae and the lyricism of relaters or poet himselfThe narrative poets in 1940s have further developed the "mood" type of narrative poems(a kind of structure model of the modem narrative poem)which was created by predecessors.

本文试图在对有代表性的文本进行细致研读的基础上，对40年代叙事长诗的叙事艺术与策略进行深入剖析，主要从抒情化叙事、意象化叙事、戏剧化叙事、谣曲化叙事四个层面展开，以发掘、评判其在现代诗歌史上的历史贡献、价值、功能及局限等。40年代叙事长诗中的&抒情化叙事&策略主要体现于&情&与&事&的高度艺术融合，抒情形态表现在抒情结构与抒情语言方面；其抒情策略大体有两种方式：一是诗中人物的自我抒情，一是诗人自己或叙述人的抒情。40年代叙事诗人进一步发展了前人创造的&情绪型&叙事诗这种现代叙事诗的结构模式。

Female narration is explained from the aspects of anti-patriarchal cultural narration, female-desire narration, female experience narration and lesbian self-fondness and the reconstruction of the image of new female.

在女性叙事方面，从反父权文化叙述、女性欲望化叙述、女性经验叙述、女同性恋自恋和新女性形象的重建等四个方面来阐释。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。