声论
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北朝文人接受四声论的过程中,投入了极大的热情,积极从各自的角度,或从理论角度质疑解惑,或在实践中为四声论的顺利应用做好各种准备。
The literators accept the theory of the four tones with enormous enthusiasm . Positively from respective angle , some question the theory to dispel doubt , and some make efforts to smoothen the application of it .
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其在新时代的内涵为:破恶声论,创新求变,是中国现代文化革新的精神路向;
The content of it in the new age is to destroy the theory lf " evil voice ", bring to th e new ideas in order to change-the spiritual direction of China 's modern culture reformation .
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不在的存在无声的有声&论《丽蓓卡》的叙事技巧
The sound of silence : On narrative technique of Rebecca
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平淡叙述中的反叛之声&论《母亲的反抗》和《新英格兰一修女》
Insipid Described in the Rebel Voice & Discusses The Revolt of Mother and A New England Nun ;
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我国近代警察制度创建的呼唤之声&论我国改良思想家的警政理论
The Voice Calls for the Creation of Chinese Modern Police System & On the Improvement of Thinkers Police Theory
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动荡末世的变雅之声&论元末临川诗人吴皋及其诗歌艺术
The Plaintive Poetry of the Tubulence in the Last Phrase ── On Wu Gao , the Poet of Linchuan and His Poetic Art in the End of Yuan Dynasty
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论嵇康《声无哀乐论》的和美学思想
The Harmony Aesthetical Ideology in Ji Kang 's No Sadness in Music
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《声无哀乐论》的产生原因及其评价问题
The Cause of Music Has No Sorrow or Joy and the Problem of its Valuation
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通过剖析《声无哀乐论》,我们从中抽取出无情与有情两个概念。
By analyzing the " Sound Without Sorrows ", from which we extract a " ruthless " and " enthusiastic " two concepts .
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从嵇康《声无哀乐论》看音乐审美主体的差异性
On the Otherness of the Musical Aesthetic Subject & From Ji Kang 's Perspective of The Music is Irrelevant to Grief or Joy of
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一直以来,人们对于《声无哀乐论》中的音乐美学思想有各种不同的解读,存在很大争议。
All along , the people for " Sound Without Sorrows " Musical Aesthetics in a variety of different interpretations , there is much controversy .
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本文试图以分析《声无哀乐论》中情感问题作为突破口,以此探究《声无哀乐论》中音乐美学观的真正内含。
This paper attempts to analyze the " Sound Without Sorrows " in emotional problems as a starting point , this inquiry " Sound Without Sorrows " Aesthetics of Music really contains .
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首先,综述了声学材料技术的进展,包括声学及声学材料基础知识的介绍,并对平面波的声波导管理论作了简要的阐述。
First , this paper makes a review of the acoustic material technology , include acoustic and acoustic material on the basis of knowledge , and explain the plane wave catheter theory .
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应用认识论的观点,并根据《声无哀乐论》和《淮南子》中的音乐美学思想,分析、研究了音乐审美活动中审美主体的接受差异问题。
This paper , following the theory of knowledge and based on the musical aesthetic thoughts in Music without Sorrow and Joy and Huai Nan Zi , analyzes the acceptance differences of aesthetic subject in music appreciation .
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有声缺义:论《喧哗与骚动》中的意义缺失
Vocal But Not Meaningful & Deficiency in Meaning in the Sound and the Fury
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魏晋南北朝时期,味逐渐从先秦时期的声、色并论中脱离出来,成为独立的审美范畴,以味论诗渐成风气。
In Wei , Jin , and Southern and Northern Dynasties , the flavor was escape from amalgamation of visual and aural , became a absolute aesthetic category , the ethos of flavor criterion gradually came into being .