谁能帮忙翻译一下下面这段文字,翻得好可以再加分
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发布时间:2022-05-24 11:43
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热心网友
时间:2023-10-12 07:43
The rhetorical conventions of the "preface," or xu, to collections of poetry lead one to expect some permutation of a familiar set of basic moves conventional encomia on the power of poetry, accounts of the ethical and historical wellsprings of the poetic faculty, along with some more or less detailed statements of the historical lineage to which the present work affiliates itself. By all conventional standards, however, Yan Ji fails to make any of these moves in his preface. Far from providing an account of the vital ethical or political significance and power of poetry, he circumscribes quite pointedly his notion of a "good poem" to the sympotic context. A good poem, by this account, is one that satisfies the reveler "bobbing and sinking in wine." This effect of satisfaction is one described as almost physiological-the language here of "dissolving" and "dispersing" is quasi-medical. Perhaps even more unsettling is the apparent lack of any positive historical tradition of poetry to point to; for the old lyrics, Yan Ji baldly states, simply fail when judged by this imperious test. Yan Ji's startling formulation of the relation of the present-day poet to the poets of the past gives with one hand and takes away with the other. While asserting the fundamental identity of the experiential truths of human response to the world, Yan Ji simultaneously denies that any set of canonical texts can hope to serve as an enring touchstone of that identity. While the poetic impulse may enre unchanged through time, the poem as text is at best only a provisional bearer of meaning, as the truths of experience continually require new poems to restore them to full expression. If the defining function of the literary preface is to place the new literary work within history and in relation to a canonical lineage, Yan Ji here seems to have undermined that logic from within. As we inquire further into the modelThe rhetorical conventions of the "preface," or xu, to collections of poetry lead one to expect some permutation of a familiar set of basic moves conventional encomia on the power of poetry, accounts of the ethical and historical wellsprings of the poetic faculty, along with some more or less detailed statements of the historical lineage to which the present work affiliates itself. By all conventional standards, however, Yan Ji fails to make any of these moves in his preface. Far from providing an account of the vital ethical or political significance and power of poetry, he circumscribes quite pointedly his notion of a "good poem" to the sympotic context. A good poem, by this account, is one that satisfies the reveler "bobbing and sinking in wine." This effect of satisfaction is one described as almost physiological-the language here of "dissolving" and "dispersing" is quasi-medical. Perhaps even more unsettling is the apparent lack of any positive historical tradition of poetry to point to; for the old lyrics, Yan Ji baldly states, simply fail when judged by this imperious test. Yan Ji's startling formulation of the relation of the present-day poet to the poets of the past gives with one hand and takes away with the other. While asserting the fundamental identity of the experiential truths of human response to the world, Yan Ji simultaneously denies that any set of canonical texts can hope to serve as an enring touchstone of that identity. While the poetic impulse may enre unchanged through time, the poem as text is at best only a provisional bearer of meaning, as the truths of experience continually require new poems to restore them to full expression. If the defining function of the literary preface is to place the new literary work within history and in relation to a canonical lineage, Yan Ji here seems to have undermined that logic from within. As we inquire further into the model
修辞公约的“序言”,“或徐,以诗歌集导致一个期望一些置换一个熟悉的一套基本动作常规杜仲对权力的诗歌,帐户的道德和历史的源泉,诗意的教师,以及一些或多或少的详细陈述历史系的目前的工作机构本身。所有传统的标准,然而,晏几道不作出任何这样的动作,在他的前言。远远没有提供一个帐户的重要的道德或*意义和诗歌,他很有针对性地*他的概念“诗”的sympotic背景。一个很好的诗,此帐户,是一个满足观众“漂泊和下沉的葡萄酒。”这一效果满意,是一个描述为几乎physiological-the语言在这里“溶解”和“分散”是准医疗。也许更令人不安的是明显缺乏任何积极的历史传统诗歌指;为老的歌词,晏几道光头,失败时从这个专横的试验。晏几道的惊人的配方的关系,当代诗人的诗人的过去给他一手夺与其他。同时主张根本一致的体验真理,人类世界,晏几道同时否认任何一套规范文本可以希望作为一个持久的试金石,身份。而诗意的冲动可能很久不变的诗,文字是最好的只是临时承载的意义,为真理的经验不断需要新的诗歌恢复到充分的表达。如果定义功能的文学前言将新的文学作品在历史和有关的一个典型的谱系,晏几道在这里似乎破坏了该逻辑的。我们进一步调查的模型
可能不太对
但我尽力拉啊!!
给分啊!!
热心网友
时间:2023-10-12 07:43
修辞的惯例的“引言”,或者“徐、采集诗歌让人期待一些熟悉的排列的基本动作组传统的权力encomia诗歌、账户的伦理和历史源泉诗意的师资,连同一些或多或少的历史渊源的详细报告,目前的工作子公司本身。通过所有常规的标准,然而,燕Ji未作出这些行动在他的前言。远离提供一个帐户至关重要的道德和*意义和权力的诗歌作品,他很巧妙的*他的概念与“好诗”的sympotic上下文。一首好诗,凭此账户,是满足“上下狂欢,沉没的酒。“这是一个满意的效果几乎physiological-the语言描述为这里的“溶解”和“分散”是quasi-medical。或许更令人不安的是明显缺乏任何正面的历史传统诗歌指,因为旧的歌词,燕Ji直截了当地州,直接失败受到这种专横的测试。燕Ji配方的惊人的关系,现在的诗人,诗人过去给用一只手和剥夺。当确定基本身份的体验真理的人类应对世界,燕Ji同时否认有任何套经典文本可以希望成为一种持久的试金石,身份。而诗意的脉冲可以忍受不变的时候,这首诗作为文本最多也只是一个临时的人的意义,为真理的经验不断需要新的诗来恢复他们充分表达。如果定义功能的文学把新的序言是文学作品在历史和关系到一个标准血统,燕Ji这里似乎已经破坏了这种逻辑在里面。当我们询问到更远的模型
热心网友
时间:2023-10-12 07:44
诗集的“前言”,或许,修辞公约导致期望一些基本动作对诗歌的权力传统encomia,占诗意的教师的道德和历史的源泉,一个熟悉的设置排列,沿或多或少详细陈述的历史沿袭,目前的工作分支机构。然而,所有的常规标准,晏几道未能作出任何在他的序言这些举动。远东帐户提供一个重要的道德或*意义和诗歌的力量,他circumscribes相当尖锐地指出他的一个“良好的诗”的sympotic范围内的概念。一首好诗,户口本,是满足reveler“漂泊和葡萄酒中的下沉。”这是一个几乎生理“溶解”和“分散”的语言是准医疗满意的效果。也许甚至更令人不安的是明显缺乏任何积极的诗歌的历史传统,指向老的歌词,晏几道露骨,根本达不到这个专横的测试判断。晏几道的惊人的制定提供了当今诗人过去的诗人的关系,一方面与其他。晏几道虽然声称人类应对世界体验真理的根本身份,同时拒绝任何一套规范文本,希望能作为一个持久的试金石,身份。虽然可能忍受不变的时候,诗作为文本的意义充其量只是一个临时的旗手,因为真理的经验,不断需要新的诗,以恢复他们充分表达的诗意的冲动。如果文学的序言定义功能是放置在一个规范的血统关系的历史和新的文学作品,晏几道在这里似乎已经从内部破坏这种逻辑。正如我们进一步调查,到模型.
热心网友
时间:2023-10-12 07:44
这么多才5分....汗哒哒