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Leslie commented that when people begin to learn and study opera, they begin with basic works by composers such as Giuseppe Verdi and Giacomo Puccini before moving on to more complex works by composers such as Richard Wagner.

莱斯丽评论,当人们开始学习歌剧的时候都从最基本的作品开始,比如那些由朱塞佩·威尔第和贾科莫·普契尼创作的,然后再转向诸如由理查德·瓦格纳创作的较复杂的作品。

In Russia, these trends mainly reflect in the attention to and a fresh explanation for Gogol's creation in his later yeas, as well as in the fresh interpretation of his complete works in religious context.

在俄罗斯,这种新动向的主要表现是对果戈理晚期创作的关注和重新阐释以及随之而来的在宗教语境中对其整体创作进行重新解读的趋势。

Putting in comparison the life of this leading novels author, J. R. R Tolkien along with the milieu of the creation of the trilogy as well as its plots and the characterization and the counterparts of Gothic novels, we can find evident similarities between them and the plain impact on the novel from Gothicism. It is within the framework of Gothicism that the novel presents the persistent religious issues and technophobia that most Gothic novels lay bare.

通过对小说原著作者托尔金的生活背景,以及小说的创作背景和小说中情节和人物的分析,可以看出指环王系列小说的创作背景与哥特小说的背景有明显的相似处,而小说本身也受到传统哥特风格的影响,并且在这个风格框架下,小说继续体现了典型的哥特小说中的宗教问题和对现代技术的恐惧。

Charles Francois Gounod (1818—1893) is one of the great French opera composers in the nineteenth century. In his operas he insisted the tenet that thoughts of roles should be expressed by the music that was plain and truehearted. He created the kind of opera named"lyric opera", which broke through the"grand opera"in France in the period of 1830s and pointed out the direction of the French opera.

夏尔·弗朗索瓦·古诺(Charles Francois Gounod,1818——1893)是19世纪中、下叶法国的一位杰出的歌剧作曲家,在歌剧创作中他强调用朴实真挚的音乐语言来表达人物情感,他创作出一种被称之为"抒情歌剧"的歌剧类型,打破了自19世纪30年代以来形成的大歌剧浮华夸张风格的传统,为法国歌剧的发展指明了道路。

The dramatist and musical characters and the perfect combine between music and drama are the purports. The thesis is divided into three parts: the preface, four chapters and the conclusion. In the preface it is explained that what in this thesis is expounded and what kinds of study about the opera there are in Chinese and in the other area of the world. The first chapter is a summary about Gounod and his"Faust", which is the typical work in lyric operas. In the second chapter analysis on drama, the character and figures of the roles in the opera is made, and the characteristic of the plot ,the creation of opera and framework is put together. In the third chapter the music in the opera is studied, and the characteristics are put together on the base of particular analysis on typical passage of aria chorus ensemble. In the last chapter, perfect combine between drama and music is presented by study on Faust's character and psychology,and it is discussed that music implied the plot. And the conclusion is a whole comment of the opera and it's musical characteristics

更多论述。全文由引言、四个章节、结论等几个部分组成:引言是关于论文的选题、国内外研究现状的陈述,指明笔者选题的意义以及国内外学者对此课题的研究程度;第一章是对抒情歌剧作曲家古诺以及抒情歌剧的典范之作《浮士德》的一个总体上的概述;第二章从人物性格与戏剧情节、戏剧结构、戏剧创作等方面对歌剧《浮士德》进行分析,归纳其戏剧特点;第三章是对歌剧《浮士德》音乐特点的研究,通过对咏叹调类、重唱类、合唱类唱段中有代表性唱段的具体分析,总结其在音乐创作方面的主要特点;第四章从音乐刻画人物的性格与心理、音乐暗示戏剧情节的发展等方面,论述了歌剧《浮士德》在戏剧与音乐方面的完美结合;结论是对歌剧《浮士德》的整体论析。

This is the reason why it is necessary to find out the forming and development of music form before analyze Grieg' s "Lyric Pieces".

音乐体裁作为音乐作品的表现形式,反映了音乐创作和音乐以外其他因素之间的联系,并且反映了音乐创作的内部特点。

From these five characteristics, we can see that Grieg' s work break through the classical skills and unique personalized composing skill which combined with the ethical music elements of Norway.

在这五方面中,主要体现出格里格创作中的对传统技法的突破以及与挪威民族音乐元素相结合的具有独特个性的创作手法。

As the form of musical diary, Grieg' s "Lyric Pieces" recorded his composing career during the 37 years and revealed the basic clue of the changes in the style of his musical works.

格里格的《钢琴抒情小品》是以音乐日记的形式,记录了他37年间的创作生涯,反映出作曲家音乐创作风格的发展变化过程的基本线索。

Through the investigation of desire writing, body writing, the half-length body writing etc, this part analyzes the inclination to desire writing in the novel of new generation, poetry creation and new historical novel.

通过对"欲望化写作"、"身体化写作"、"下半身写作"等现象的考察分析了在新生代小说、诗歌创作还有新历史小说创作中普遍存在的一种欲望狂欢的"食色"化倾向。

O woman, you are not merely the handiwork of God, but also of men

女人啊,你不仅仅是上帝之手的创作,也是人手的创作

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