复调理论与诗性语言是2 0世纪西方文学理论中的两个重要内容。
Polyphonic theory and poetic language constitute two of the major concerns in the 20th century western literary criticism.
古典诗性语言向现代工具语言的转变与古典人文教育向现代功利教育的转变同步。
The change from classic poetic language to modern instrumental language synchronizes with the change from classis humanistic education to modern utilitarian education.
诗性语言追求灵活的语序，巧妙的句式，力求多层面地表现诗歌的整体美。英汉诗歌语序变位多为音美配置使然。
The poetic language can be exploited to pursue the flexible word order and subtle sentence structure so as to convey the multi level beauty in its entirely.
诗歌语言的模糊性蕴含了诗歌艺术的模糊美，构成了诗歌艺术的审美诗性。
The fuzziness of poetry language, which contains the fuzzy beauty, composed the aesthetic poetics of the poetic art.
英汉两种语言分属两个不同语系，汉语又具有与生俱来的诗性特质，所以我们必须承认汉诗英译中诗歌审美鉴赏的差异性。
Because English and Chinese are of different family and Chinese is born with a poetic nature, we must accept the differences of poetry appreciation in translating Chinese classic poetry into English.
母语化是对中国传统审美经验作充分的借鉴和吸收，以激活汉语言在文学表达上的诗性和灵性。
Having made a sufficient reference to traditional Chinese aesthetical experience, Vernacularizing tends to stir up the poetry characteristic and liveliness of Chinese language in literary expression.
在中国当代先锋戏剧中，语言固有的诗性被颠覆。
The poetic of the language is undermined in Chinese contemporary avantgarde drama.
尤其是在语言文字的诗性挖掘与建构方面，诗人与诗歌理论家大都缺乏自觉的意识。
Most poets and poem theorists have no awareness of poetic nature and construction of language.
在其诗歌翻译实践中，庞德努力寻求与原作诗人的心灵契合，强调诗歌语言的能量与细节来再现原作诗人的诗性体验与诗性情感。
Pound endeavors to seek fidelity to the original poet's soul by emphasizing the energy in poem language and its details to reproduce the original poet's poetic experience and emotion.
索绪尔关于语言符号横组合关系和纵聚合关系的研究，指导了罗曼·雅科布森对文学语言“诗性功能”的研究。
Saussure's research on the syntagmatic relationship and paradigmatic relationship of language signs gives guidelines to Roman Jakobson's study of "poetic function"of the literary language.
文学语言的这种诗性逻辑特征包括意象性、变焦性、语境性、断定压力的松缓性和悖论性。
The very poetic logic of literary language contains the qualities of imagery, zoom, context, looseness of decisive pressure and contrary to reason.
把中国古代文学翻译成现代汉语作为一种文学行为里面包含着很深的对于语言“诗性”的误解。
It will contain the misreading of poetry in the process of translating the ancient literature works into the modern Chinese.
由于文学语言的使用遵循不同于日常逻辑的诗性逻辑，从而才能产生出文学艺术有别于其他文化形态的审美性特征。
Literary language follows a poetic logic which is different from the logic for everyday use, which produces the aesthetic features different from other cultural forms.
因此，经历了激进的语言实验后，一些先锋小说家在新的小说文本创作中表现出追求意义重建与诗性回归的倾向。
So after experiencing the radical language experiment, some avantgarde novelists are inclined to pursuing the meaning rebuilding and returning to poem quality while creating their new novels.
美国语言是美国民族文化的符号，是美国人思维和梦想的源泉，具有诗性和隐喻的特征。
American language is a symbol of American nation and a fountain of Americans' thinking and dreams with poetic and metaphorical characteristics.
数十年来，他一直穿行于古典意韵与现代语言、东方诗性与西方表现并行而又交汇的实验之旅。
For decades, Weijun is always trying to combine the classical aroma and modern language, the eastern poetic way and western expression.
在中国当代先锋戏剧中，语言固有的诗性被颠覆。
The poetic flavor of the language was toppled down in Chinese contemporary Avant-Garde drama.
南方的艺术家明显地使用比较诗性的语境，而北方的艺术家则更重视形式主义所能展现的语言力量。
Southern artists very visibly attempt to create and use a sort of poetic context, whereas northern artists place greater value on the linguistic force that formalism can create.
中国古代文论以论说之体而具诗赋之性，其批评文体的文学化、语言风格的美文化和理论形态的艺术化，共同铸成文论之“体”的诗性特质。
The ancient Chinese literature theory is not rational but poetic, because it's text is literary, style is esthetic and form is artistic.
儿童文学语言符号的所指具有模糊性，它是文学语言的诗性特征的体现。
As the reflection of the poetic characteristics in literary language, the signified of linguistic signs in children literature owns fuzziness.
从1949年到1978年的诗歌写作基本上处于他者化力量的规范之下，诗歌语言消解了诗性和审美性。
From 1949 to 1978, the language of poetry was normalized estranging force and thus its poetic and aesthetic features vanished.
从1949年到1978年的诗歌写作基本上处于他者化力量的规范之下，诗歌语言消解了诗性和审美性。
From 1949 to 1978, the language of poetry was normalized estranging force and thus its poetic and aesthetic features vanished.
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