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双语推荐:神话诗歌

原型诗学观认为,原型是文学作品中反复出现的神话意象和文学形式,是文学创作中作家深层的心理结构和集体无意识,容易唤醒读者深层的审美体验,具有重要的价值和意义。二十世纪二三十年代,新月派诗人译介了大量的浪漫主义诗歌。通过研究发现,在诗歌翻译时,新月派诗人注重保留原诗的音韵模式,再现浪漫主义诗歌中充满想象力的神话意象,与原型诗学所倡导的理念一致,取得了理想的译诗效果。
Archetype poetics hold that archetype is the recurring mythical images and literary models which , being the writers''deep psychological structure and collective unconsciousness in their literary creation , can easily arouse the readers''deep aesthet-ical experience , hence conveying valuable and profound meanings .In the 1920s-1930s, poets of the New Moon Faction translated a large number of romantic poems .The study shows that in their translation , the New Moon Faction poets attach importance to the reservation of the rhyme models of the source poems and emphasize the reproduction of imaginative mythical images in the roman -tic poems, which are in accordance with the concepts of archetype poetics .They obtained ideal poetry translation effects .

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中国现代神话诗歌的兴起,除了源于对神话学理论的译介和传统诗学用典意识的积淀等之外,"启蒙"使命更是关键因素。促成这两者联姻最重要的契机就是类比诗性思维,这表现在新诗作者自觉与不自觉地运用民族神话、传说意象或内质来类比中国现代"启蒙"文化,而类比思维恰恰又是中国神话的鲜明精神结构和国人的思维个性、文化特征。
About the rise of modern Chinese mythological poetry,in addition to originating from the accretion of translating mythological theories and the consciousness of using allusions in traditional poetics,the mission of en-lightenment is a key factor.Analogical poetic thinking is the most important juncture that contributes to the mar-riage of these two aspects.This is reflected in the fact that authors of new-style poetry consciously or uncon-sciously make use of national myths,legendary imagery or essence as an analogy to modern Chinese Enlightenment culture.And analogical thinking is indeed the distinctive spiritual structure of Chinese mythology and the individ-ual thinking feature,cultural characteristics of Chinese people.

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罗曼·雅各布森不拘一格地将作者、文本与语境统一起来,服务于生平与作品关系的研究,揭示出诗人的诗歌神话诗歌文本潜在的深层结构所在,一定程度上复活了被形式诗学所抛弃的"作者"和"语境"要素的决定价值,实现了对当时盛行的"庸俗生平主义"研究和"反生平主义"研究的超越。雅各布森的神话诗学既不同于"以作者为中心"的传统文论,也不同于纯粹"以文本为中心"的形式文论,而是综合运用历史主义、结构主义和科学实证主义的方法,探究诗歌文本意义生成的条件机制。
To discuss the relationship between life and works,Roman Jakobson unified the author,text and context. To some extent,this effort revived the determining value of two factors,namely,"author" and"context",which were neglected by formal poetics and consequently excelled the researches of "vulgar bi-ographism" and "antibiographism". This study of poetic mythology,which is different from the "author-cen-tred" traditional literary theory and the "text-centred" formal literary theory,multiply applies historicism,structuralism and scientific positivism methods to the research on the conditions of the formation of poetic text significance.

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自“美国印第安文艺复兴”以来,一批具有民族自豪感的作家与诗人把写作当作政治解放的武器,在其诗歌创作中强调对同化的抵制,表达出认同祖先文化传统的愿望。作为当代印第安英语诗歌的代表人物,乔伊·哈娇(Joy Harjo)、西蒙·欧提斯(S1mon Ortiz)以及琳达·荷根(Linda Hogan)将诗歌创造建立在印第安口述文化传统之上,强调土地是印第安的记忆和文化之根,并透过灵性传统彰显异于主流文学的叙述模式、神话体系和信仰体系。
Since American Indian Renaissance, a new generation of Indian writers and poets with a strong sense of national pride takes up writing as a weapon of political liberation, proclaiming their dismissal of assimilation and articulating the desire to identify with their ancestral heritages. As representative figures of contemporary American Indian poetry, Joy Harjo, Simon Ortiz and Linda Hogan infuse their poem-writing with traditional Indian culture such as affiliating with land, storytelling and vision so as to highlight Indian narrative discourse and mythology that are differenting from dominant culture.

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地理环境是文学的三大决定要素之一。水的灵性,山的高迈,平原的包容和宽广以及盆地的深厚和丰富,成就了中原大地独特的地貌,也形成了博大精深、兼容并蓄的中原文化,进而形成农耕文化、神话传统、诗歌基因和儒道传统等四个显豁的文学传统,并为后世文学带来有益启示,产生深远影响。
The geographical environment is one of the three major determinants of literature .The spirituality of wa-ter,the height of mountain ,basin deep and rich ,the tolerance and broad of the Central Plains achieved the unique landform ,and also formed a fully inclusive and equitable , broad and profound culture of central plains .And then come the formation of the four obvious literary traditions like farming culture ,myth,Confucian and traditional poetry gene.It bring the beneficial inspiration for the later literature .

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出生于云南苍洱之间的晓雪是一位优秀的白族诗人,他以诗评崭露头角,又以诗歌创作驰骋文坛。在他几十年的创作历程中,自己生于斯长于斯的故土--苍山洱海始终是他笔下的着力点,浓郁的乡恋贯穿于其诗歌之中。他一方面尽情书写富有边地风情的白乡故土,捕捉着奇异的民族风,另一方面,他也在努力关注、思考民族和故乡的历史命运,并以神话叙事诗的形式来展开书写。
Born in the middle of Cangshan Mountain and Erhai Lake, Yunnan Province, Xiao Xue who is a distinguished poet from the Bai people, made his debut as a poetry critic and became a poet ever since. During his long journey of creating, he put his premier emphasis on his fatherland, the Cangshan Mountain and Erhai Lake where he grew up, as a result of which his poems are saturated with nostalgia. On the one hand, he wrote about the local manners and conventions of Bai people near the country border and captured the unique national style there;on the other hand, he also made his efforts to concern and give thoughts on the historical destiny which is unfolded in the form of narrative poetry of myth in his writing.

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马克思认为,人类是通过哲学的、实践—精神的、宗教的、艺术的方式来把握这个世界的。然而,从历史的遗留来看,我们的文化大多是由作为社会精英的知识分子所表达的。实际上,民间文化的主体和精英文化的主体一样,也是通过这些方式来把握这个世界的。但民间文化主体把握世界的结果却和精英文化大不相同,表现为生活哲学、村规民约、工艺技术、民间信仰、禁忌、神话、传说、民歌、民谣、故事、工艺美术、民间音乐等。而精英文化则是世界本原论、本体论、发展论的体系性作品,法律、道德、科学规律的学院化描述,宗教的起源、发展、流派、宗门等的探讨,文人诗歌、绘画、书法、音乐的呈现。二者有着迥异的风格和特色。
Marx believed that mankind grasped the world through the way of philosophy, practice and spirit, religion and art. But in most of the historical legacy, our culture was reflected in intellectual's achievement. In fact the way of the owners of folk culture grasping the world was the same as that of the owners of elite culture. But the results were different, in terms of philosophy of life, pacts, technology, folk beliefs, taboo, myth, legend, folk song, ballad, story, arts and crafts, folk music etc. The elite culture was the systemic and college works about philosophy, legal, and art, the inquiry into origin, development and religious sects as well as the presentation of poems, painting, music and calligraphy. The results had very different style and characteristic .

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作为中国第一部个人诗歌总集的《楚辞》,一方面向我们展示了伟大诗人屈原的慊谦爱国之心;另一方面充斥着大量神话影子和神游景象也揭开了早期先民图腾崇拜的影子。作为我国现存最早的目录学文献,汉志提供了先秦两汉时期中国图书的成熟情况,但在收书如此浩瀚的巨著中,独诗赋略较其余几略显得暗淡无光,其中的"诗赋略"在没有小序又夹杂种种疑问,而后世所说《楚辞》的踪影也无迹可寻,这给研究《楚辞》者带来诸多困惑。本文即以此为出发点,通过探讨汉志"诗赋略"中的"屈原赋之属",得出今本《楚辞》并非选自"屈原赋之属"但其编纂者确为刘向无疑。
As China''s first personal poetry anthology, on the one hand"Chu Ci"shows the great patriotism of poet Qu Yuan to us;on the other hand full of myth shadow and fugue scene also unveiled the shadow of early ancestors totem worship. As China''s earliest extant literature bibliography, Han Zhi provides mature Chinese books in Qin and Han Dynasties, but in the book, and Shifulve is slightly dim and dark, has no small order and clip hybrid interrogative, but later"Chu Ci"is untraceable, which brings a lot of confusion. In this paper, by discussing the"Qu Yuan Fu", to obtain that"Chu Ci"is not from"Qu Yuan Fu"but undoubtedly the lexicographer is Liu Xiang.

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在古希腊神话里,伊卡洛斯由于不听父亲的劝告而飞得太高,翅膀被太阳融化,坠海而死。后人将他阐释成各种形象,如追求爱与美的诗人与爱人,追求自由的英雄、革命者、反叛者与乌托邦主义者。在19世纪,有三位大诗人——拜伦、波德莱尔、斯特凡·格奥尔格——续写了伊卡洛斯神话。献身希腊战场的英国诗人拜伦在歌德的《浮士德》里以欧福里翁的形象出现,是一个英雄伊卡洛斯。法国诗人波德莱尔把追求美的现代诗人比作不幸坠落的伊卡洛斯,德国诗人格奥尔格则塑造了一个作为诗人-先知的伊卡洛斯,他是变革社会的精神领袖。格奥尔格对伊卡洛斯形象的塑造,成熟于他在伦敦漫游中与拜伦的神交、在巴黎参加马拉美主持的星期二聚会以及对波德莱尔诗歌的熟稔,这可视为一种"侨易"现象,同时也造就了格奥尔格的伊卡洛斯形象的独特性。身处不同时代、源自不同民族与国家的这三位诗人对伊卡洛斯的不同感悟与阐释,展现了伊卡洛斯形象在19世纪的一种"侨易"过程。
The mythical figure of Ikarus who ignored his father''s advice and flew too close to the sun and then fell into the sea where he drowned was interpreted as poet and lover in pursuit of beauty and love,as hero,revolutionist,rebel and u-topian longing for freedom.In the 19th century three famous poets Byron,Baudelaire and Stefan George showed their conceptions of Ikarus.While Goethe depicted English poet Byron as a hero Ikarus in the mythical figure of Euphorion in Faust and French poet Baudelaire composed a lament to the modern poet who soars up into heaven longing for beauty like Ikarus and falls but more unfortunately than Ikarus,German poet Stefan George gave an image of Ikarus as poet-prophet who is the spiritual leader of changing society.George''s mature image of Ikarus grew out of his admiration for Byron in London,his attendance at the Tuesday evening held by Mallarméand his familiarity with Baudelaire''s poetry in Paris dur-ing his wander,this development can be rega

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