文体论

On this foundation, this text draws lessons from classification method and classification name of the ancients physically according to the creations of song text, for one hand, According to the subject matter , divided Song prose into the saint and wise minister , ancient wise ,and the miscellaneous of three types, and according to the people of the past, carry on a define to"miscellaneous",for the other hand, from the motivation of writing ,dividing the song text into"to be subjected to order","being request to someone"and"scholar independence writing"three types, try to follow the science , integrity and exclusively standard to classify , and under the premise of categorized, carried on an initial define to the song prose, explicite the song prose the content of this literary style, and finally, in remaining part, we talk about the cultural and literary value about song prose .

在此基础上，本文根据颂文的创作实际，借鉴古人的分类方法及分类名称，一方面，从创作题材入手，将颂文分为圣主贤臣颂、古贤颂、杂颂三类，并对"杂颂"进行界定；另一方面，从创作动机入手，将颂文分为受诏而作、受人请托而作、文人自主创作三类，力图体现分类的科学性、完整性、排他性，并在分类的前提下，对颂文进行初步的概念界定，明确颂文这一文体的内涵，最后在余论部分对颂文的文学与文化价值予以明确。

All too short on the celebrated wit and style of the Enlightenment's first polemicists, the book is long-winded and repetitive, the arguments circuitous and sometimes hard to follow, not least because of Proustian sentences up to 160 words long.

这本专注于启蒙运动的第一部论作中，关于才智和文体方面可圈可点的地方实在太少。不谈那些多至160个单词的普鲁斯特式长句的使用，此书篇幅冗长，内容繁复，论证过程又极为迂回，有时难以理解。

Stylistics is the study of style.

文体论是文体的研究。

In terms of poetic form , Tagore attaches great importance to the versification of poetry in his early years , but in his later period , he has more profound understanding of poetic form .

在文体论方面，他早期比较重视诗的格律形式，后期对韵律问题有了更深刻的认识，认为韵律不仅是诗歌的一种形式因素，而且是艺术家手中的创造力。

The so-called "lun ti wen" referred to the essay which was entitled as "lun" and mainly talked about making a clear distinction between right and wrong. As an important ancient literary style, it has been found in the Chinese ancient composition writing since long time ago.

所谓论体文是指以&论&作为标题、以明辨事理为主要内容的议论性散文，它很早就出现在中国古代散文的创作中，是古代散文的一种重要文体。

Part two: Main body, expounds the development of the new period fiction"s introduction from, reference to and fusion with western modernistic fiction, of the breakthrough of the original aesthetic norms and of conducting the "modernity" of the new research of fictional style. The development is as follows: beginning from exploring the artistic forms and skills, it self-examines the history, searches for the meaning of life, and calls for the realization of certain "personality", i.e. spiritual freedom; then, adopts the spirits of modernistic literature, searches for and sublates our national traditional culture; cares for the modern people"s specific mental states and makes inquiries for the meaning of life; then, revolutionizes the textual narration, reveals the doubt about the man"s subject exposed in the theme of works, describes directly the problems of the man"s subject itself, inquires the reality and possibility of the subject"s being, and uncovers the complexity of the modernistic central proposition: man"s anxiety and his essence.

本论部分，论述新时期中国文坛对西方现代主义借鉴、吸纳、融合，突破原有的审美规范，进行小说文体新实验的发展历程——即从艺术形式、艺术技巧的探索开始起步，反思历史、探索&人&的意义；在对民族传统文化的寻找与扬弃中，重建民族的&文化&主体，以走向现代世界；关注现代人的精神状况，揭示社会的贫乏、专横、庸俗、虚伪和窒息的一面，寻求生命的意义与价值；通过文本的叙述革命，揭示作品对人这一主体的怀疑，在小说中直接描写&人&本身所存在的问题，以及人自身本质的复杂性；对城市化、世俗化生活的窥望与期冀，对其作品中多元化的欲望进行透视，揭示当今社会中人的现代主义的虚无与后现代式的焦虑，指出其书写的局限与精神提升；论析女性作家&个人化&躯体写作的意义、特色以及女性作家个人化写作的精神困境。

Lugalbanda was a god and shepherd king of Uruk where he was worshipped for over a thousand years.

Lugalbanda 是神和被崇拜了一千年多 Uruk古埃及喜克索王朝国王。

I am coming just now,' and went on perfuming himself with Hunut, then he came and sat.

我来只是现在，'歼灭战perfuming自己与胡努特，那麼，他来到和SAT 。