应该在文学语言与科学语言和一般日常语言以及其他艺术语言的比较中认识文学语言的特性。
The characteristics of literature language should be perceived in its comparison with science language, daily language and the language used in other forms of art.
简要论述了对文学理论性质的认识问题，文学理论与文学现状之间应该处于一种什么样的关系？
It briefly expounds the understanding of the nature of literary theory and what the relationship between literary theory and literary situation should be.
此种逻辑特征与争立博士官截然不同，这对于重新认识汉代今、古文学之争的知识学型态，更是直接的素材。
The logic is different from the setting 'Doctor Officer' , which is direct material for rethinking the knowledge modality of the debate between New Text and Old Text proponents.
知性分析方法形而上学地阐释音乐与文学的关系，相互对立的意见不能提供音乐文学有价值的认识。
The intellectual analysis metaphysically elaborated the relationship between music and literature, but the opposite viewpoints also failed to offer a valuable recognition of musical literature.
文学理论主体与客体的区分，是认识文学理论活动的一个前提。
Suitable understanding of the difference between the subject and object of literary theory is the prerequisite to realize literary principles.
它揭示了西方文学创作与文学批评的“枯竭”或“空间化”，并向代表着西方认识论的支配性主客二分思想提出挑战。
It discloses the exhaustion or spatialization of western literary creation and criticism and challenges the dominant subject-object dichotomy which is typical of western epistemology.
我们已经认识的元代文学，与客观的元代文学的原貌和全貌之间还有很大距离。
What the historian of literature offered was an incomplete literary history of the Yuan Dynasty, different parts of which stood separately without connections between them.
问题的出现与教材编写者对于比较文学理论知识的核心域、基本域、扩展域与相关域之结构的认识存在误区有密切关系。
These problems stem from the editors' misconceptions of nuclear scope, fundamental domain, extension field as well as related domain in comparative literature.
典故是文学殿堂里一颗璀璨的明珠，是人们在长期的语言实践与认识过程中凝炼而成的思想结晶。
Literary quotations are a lustrous pearl in the palace of literature. They are the ideological crystal condensed by people in their cognitive process and language practice for a long time.
从这个层次上讲，对神秘文化的借鉴是对建立在传统认识论基础上的现实主义的超越，也是文学自身摆脱简单、透明与单一的一种努力。
In this sense, the borrowing from the mystical culture is but a realist transcending based traditional epistemology, an attempt of escape from the simple, transparent and monotonous.
从这个层次上讲，对神秘文化的借鉴是对建立在传统认识论基础上的现实主义的超越，也是文学自身摆脱简单、透明与单一的一种努力。
In this sense, the borrowing from the mystical culture is but a realist transcending based traditional epistemology, an attempt of escape from the simple, transparent and monotonous.
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