其虚构叙事本质对中国小说叙事起到了催生的作用。
Its essence of fictitious narrative hastened the narrative of Chinese novel.
这一建构性延伸到时间意识之中从而表现成为时间性与叙事性，更适应于现代虚构叙事的时间艺术研究。
It constitution extends into time-consciousness and translates into temporality and narrativity, which makes phenomenological time adapt better to the research of time art in modem fiction.
语言哲学对命题与判断主体之间的语法关系所作的研究提示我们，在虚构叙事文本中，潜在于第三人称叙述句子之外的第一人称主体“我”不止一个。
The relation between a sentence and it's teller, which studied by the philosophy of language, revealed us that in fictional narrative there are subjects outside the sentence.
换句话说，这是一种在虚构的世界,按照特定轨迹运动的叙事体。
In other words, this is a narrative that moves quite by design in the world of fiction.
同样属于虚构类叙事作品的影视艺术日益取代小说的位置而成为当今人们精神和情感活动的主要支撑。
Films and TV plays, belonging to the same type of fictitious narrative works of art, have increasingly replaced novels as the pivot in the spiritual and emotional activities of modern people.
这些要素被组合成具有表现力的各个模式，以表现真实或虚构的现象。或表现叙事主题。或创造抽象的视觉形象。
These elements are combined into expressive patterns in order to represent real or supernatural phenomena, to interpret a narrative theme, or to create wholly abstract visual relationships.
在叙事虚构作品中，不能将作品的作者等同于作品的叙述者、将作品中的叙述声音等同于作者的声音。
In reading narrative fiction, we should not equate the author with the narrator or equate the narrative voice with the voice of the author.
他综合运用虚构、省略、大量对白、特写镜头等影像叙事手法，有力地突出了主题。
He comprehensively used these narrative approach such as fiction, omitting, a large number of talks and close-up, highlighting the theme strongly.
汉魏六朝时期出现的大量具有虚构成分的叙事作品，足以说明当时人们较普遍地具备了自觉的虚构意识。
Fictitious elements manifested in narrative works in Han Wei and the six dynasties demonstrate that people of that time generally had a fictitious awareness.
她热衷于探索视觉叙事的可能性，将真实与虚构的元素结合，探讨记忆、历史与时间等话题。
By experimenting with different ways of visual-storytelling, Yang creates a narrative where fact and fiction coexist to discuss topics such as memory, history, and time.
王安忆对故事、叙事、语言的看法，最终落脚在文学的虚构性质，都是为了另创一个非自然的世界。
Wang Anyi's opinion on story, narrating and tongue at last consists in the makeup nature of literature, all are to create a non-nature existence, another world.
因此，叙事的虚构化、人物的符号化、结构的空缺化方面表现出新的叙事观念，颠覆了传统小说的叙事方式。
Therefore, fabricatlization of narrative, symbolization of personage and vacantlization of structure demonstrate the new narrative idea, subverted the narrative way of the traditional novel.
尽管这方面的阅读过程中，传统叙事理论的重要性，不包括完整的虚构的头脑和连贯的理论。
Despite the importance of this aspect of the reading process, traditional narrative theory does not include a complete and coherent theory of fictional minds.
佛教文化在中土的深入传播，佛经故事虚构性与叙事性在中土叙事传统中的渗入，使得孕育在神话叙事与历史叙事母体中的中古志怪故事开始走向了小说文体的成熟。
The article researches the influencements that narration in Buddhist Scripture had on the style of writing of the mid-ancient Zhiguai stories while Buddhism spread to China in the mid-ancient time.
刘大鸿偏爱用简单的叙事手法，也爱用鲜艳的色彩，表现某种虚构的自信和不懂世故的天真，彷如从彼得。勃鲁盖尔的镜头回顾过去历史，全都是扭曲的影像。
Liu prefers simple narrative style ebulliently painted in brilliant colours that reveals a certain self-confidence and naivety, as if seen through the distorted lens of Pieter Bruegel.
本章从多角度叙事、片段性的拼贴、互文性、写实与虚构相结合四个小节进行分析。
This chapter can take part in four sections:multiple perspectives, fragments of collage, intertextuality, combination of realism and fiction.
本章从多角度叙事、片段性的拼贴、互文性、写实与虚构相结合四个小节进行分析。
This chapter can take part in four sections:multiple perspectives, fragments of collage, intertextuality, combination of realism and fiction.
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