诗歌

The artistic features are examined in terms of the influence of ideogram, the musicality of diction, the innovation of French words, the image hybrid etc.

本文还通过表意文字系统的影响、词语的音乐性、法语词汇的创新、诗歌中的意象杂糅、诗歌的结构与节奏特征等方面，指出程抱一法语诗歌形式艺术中对话与融合的特征。

Generally speaking, traditional Chinese poems are characterized by their suggestiveness, subtlety, implicitness and simplicity, which manifest a kind of fuzzy beauty.

模糊性是诗歌语言，尤其是中国古典诗歌语言的一种属性，其中的模糊表达方式集中体现了模糊美，同时对中国古典诗歌的赏析也体现了审美活动的模糊性。

The poetry intrapersonal communication is the starting point for the dissemination of activity and the most core aspect, mainly in p oetry writer internal. It involves the individual independent related element,such as cognitive psychology, gender awareness, cultural identity and so on. The tendency of individual factors and narrative are also related.

诗歌的体内传播是诗歌传播活动的起点和最为核心的环节，主要发生在诗歌写作者的内部，涉及个人主体性相关的元素，如心理认知、性别意识、文化身份认同等等，个体化倾向和叙事性因素等也与此相关。

This state of affairs not only leads to the unsteadiness of the development of the Chinese poems in the 20th century,but also displays the spiritual predicament faced by the Chinese people in the process of seeking modernization,in other words,the hesitation and the irresolution in the chosing of the individual value and the group value.

这一状况造成了20世纪中国诗歌发展的不稳定性，也反映了中国人在追求现代化的过程中所面临的精神困境，即在个体价值和群体价值选择中的徬徨和犹豫。20世纪中国诗歌语言观念的演变带给我们的启示是：既要坚持诗歌的文化批判立场，又要保持其作为艺术的独立性，就是要在语言的自我指涉和外在指涉之间找到一种能使诗成为艺术的平衡点，使诗能通过展现其自身的意义，同时又超越其语言自身的意义进入到新的意义的生产语境，进而参与到对现实世界的想象性建构过程中去。

Therefore,"onomatopoeia" awoke chinese "poetry function", and the specialization of onomatopoeia is reduplication, and recterative locution, while vowel rhyme and alliteration are the basis and gene of chinese rhyme.

因此说，"摹声"唤醒汉语中的"诗歌功能"，摹声的具体化是重言，重言催生了双声益韵，而重言和双声叠韵正是汉语音乐性的基石，是诗歌得以成为"诗歌"的韵律基因。

This particular "poetry function" was awoken by way of onomatopoeia-onomatopoeias. Germinate poetry, and this "baby language's inspirations" create reduplication, that is "reiterative locution".

汉语中特有的"诗歌功能"是借助"摹声"唤醒的－摹声萌芽了诗歌；而摹声这种"婴儿语的启迪"又孵化了"重言"，即"叠字"，同时又间接地孕育了足以显示诗歌潜能的另外两种模式－双声、叠韵。

The third part studies the Sui Dynasty poetry integrated the southern and northern styles of poetry, and provides Yangsu's poetry emerged new characteristics, the conciliation of the southern refinement and mellifluence in the northern vigor and massiness.

第三部分首先对隋代诗歌融合南北诗风的特点作了论述，指出杨素的诗歌创作在刚健厚重中融入了南方诗歌的精巧流丽。

From the perspective of these three indispensable factors, this article replaces the traditional "new verse" with "modern Chinese poetry" concept to investigate the historical continuity, characteristics of Chinese and the ontic characteristics of the poetry within the evolvement of poetry.

这样，现代汉诗的发生首先就牵涉到与中国知识分子的现代性宏伟目标、与汉语、与"诗打的观念、与西方语言特征的复杂关系。但诗歌作为一种特殊的言说，它的"发生"又是在个体经验、诗歌语言和特定的艺术形式之间展开的。这样，当我们辨析从晚清至"五四以来的诗歌文本，就会发现古典诗与现代诗在经验、语言和形式之间冲突与互动的丰富形态。

Classic Poetry is very important to Chinese curriculum. Affected by test-dealing education, Chinese teaching mainly concentrates on its meaning, but ignores the students aesthetic cultivation and the development of image thought, which causes the student to fail to understand the poetry compare pensively.

古典诗歌是中学语文课程中的重要部分，但由于受到应试教育的影响，中学语文教学多以理解它的意义为主，忽视诗歌审美意识的培养，形象思维的开发，导致学生普遍缺乏对诗歌正确面全面地把握。

Equally,in poetry,the highly personal,performative genre is the only form that could claim real liveliness genre.

同样地，在诗歌中，高度个性化的，表述行为特征的诗歌形式才是唯一能获得生命力的诗歌形式

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。