文学审美性教学是以文学之美为教学内容的高层次教学，是语文教学的最高境界。
Literature aesthetic teaching is a teaching form of high levels, and the highest state of Chinese teaching.
而且“比德”文学并不是道德建设直接工具性、借用性、辅助性的文艺手法，而是一种审美活动和艺术创造。
From the perspective of literary generation, this type of literature is not an instrument for moral construction but rather an activity of aesthetic and artistic creation.
作为诗性文化重要组成部分的审美批评，同文学艺术实践一样拥有创造性。
Like the practice of literature and art, aesthetic criticism, a very important component of poetry culture, is creative.
他忽视了文学与社会生活的互动关系，也忽略了文学特有的审美属性以及作家的创造性和义本的丰富性。
He neglects the interaction between literature and life, literature's peculiar aesthetic property, writer's creativity and abundance of text.
追求文学的“纯正”即审美性，强调文学自身的价值，是现代文学贵族化审美意识的重要体现。
Seeking for literature's aesthetic characteristic and emphasizing literature's own value are the major expressions of the Noble –featured Aesthetic Consciousness of the Modern Literature.
网络文学在具有一定的观赏性的同时，也有着不可回避的创作审美缺陷。
Network literature has definite appreciating values, meanwhile, it has obvious aesthetic defects in inditing.
审美精神的展示及其展示方式内在地规定了文学性的内涵和外延。
Aesthetic spirit of the show and its presentation inherently provisions of the literary connotation and extension.
审美性是文学不懈的追求，也是一切文学活动的终极目标。
Aesthetic literature relentless pursuit of all literary activities is the ultimate goal.
这三个因素使作家对语言的运用成为一种创造，并最终使文学语言成为一种独创性的审美语言。
The three reasons make the use of language in literature become a kind of creation, and literary language turns into an original aesthetic language.
原始诗歌的节奏和原始叙事的逻辑性是文学活动的基本要素，但它们不仅具有审美功能，还具有多重文化功能。
The rhythm and narration of primitive ballads are the basic elements of literary activities, which possess not only aesthetic functions but multi-cultural functions as well.
文学翻译特别需要译者的审美意识，需要作为审美主体的译者发挥创造性和主观能动性。
Literary translation needs the translator to have the sense of aesthetics in particular, to bring into force his creativity as aesthetic subject.
在当代语境中，中国文学艺术的审美现代性研究是一个重要的理论课题。
In contemporary language context, the aesthetic modernity study of Chinese literature and arts is an important theoretical issue.
这种话语时尚的发生既是公共话语空间的扩大、作家的中心边缘化的结果，也是文学批评审美创新性的内在诉求的结果。
The fashion happens as a result of the enlargement of public discourse space and the writers' center marginal tendency, and the internal need of literary criticism aesthetic creative nature.
当代青年对经典文学艺术作品的认知度不高，但依然喜爱经典文艺作品。当代青年审美追求形象化，更倾向娱乐休闲性。
Contemporary youth's cognitive level to classics in literature isn't enough, but young men still enjoy them. Contemporary youth aesthetic pursues visualization, and tends to the recreational nature.
作为文学作品的内在结构，它具有一种多层次性、未确定性审美特征。
As the intrinsic frame of literature works it has the taste characters like multilayer and uncertainty.
在理论上，它更加关注文化的表征性和意指的实践性，并坚持以文学性的审美方式，提高日常生活的文化品格。
On theory, it pays close attention to cultural representations and signifying practices and raises cultural grade of everyday life bay the aesthetic means of literature.
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.
海派文学在内容上表现出一种对历史现代性的批判，在美学品格上体现为颓废唯美的倾向，这构成了审美现代性的特征。
The Literature of Shanghai School expresses criticism to the historical modernity in its content, and the tendency of decadent aestheticism in its aesthetic character.
其主要原因在于他文学创作的审美现代性，即他以敏锐的感悟力，从相反的方向去反思现代性，去反思物化文明对人的威胁和统治。
With his keen insight he has speculated in a negative way on modernity, that is, the threat of the materialized civilization to man and its control of man.
中国古代文学在世界文学长廊中是独具特色的，具有明显的审美性特征。
The Chinese ancient literature has the special features only in long gallery of the literature of the world.
基于对文学及文学教育特点的认识，我们提出文学教育的三个策略，即审美化教学策略、体验性教学策略和对话式教学策略。
Based on the understanding about literature and literature education, we advance three strategies, they are appreciation teaching strategy, experience teaching strategy and dialogue teaching strategy.
小说维度纯文学观的审美超越性，形成其区别于通俗小说的显著的时代特征。
Modern novels, marked by aesthetic transcendence characteristic of pure literature in modern times, are different from popular novels.
同时“文学的国语”理论还要求语言具备审美性、思想性、个性化、规范化的特征。
Simultaneously "the literature national language" the theory also requests the language to have the esthetic appreciation, the ideological nature, the individuality, the standardized characteristic.
本文主要探讨了文学作品的模糊性及其翻译的审美再现。
The thesis mainly attempts to explore the fuzziness in literary works and the aesthetic representation of literary fuzziness in translation.
体裁的分类并没有一个绝对的界限，文学作品的创作往往由于体裁审美方面的模糊性而呈现独特的景观，获得意想不到的接受效果。
The classification of styles has no absolute bounds. The creation of literary works presents unique feature because of ambiguity of aesthetic aspect of style and obtains unexpected acceptable effect.
中国现代文学呈现双重现代性追求：启蒙现代性中的现实主义追求与审美现代性中的小说写意性追求。
Modern Chinese Literature - pursuing double modernity: pursuing modernity realism of enlightening modernity and pursuing enjoyable novel in aesthetic modernity.
作为审美类型的悲剧性与喜剧性，渗透到文学艺术的各个门类和领域，除戏剧艺术外，还表现在美术、音乐、电影、诗歌、小说等多种文艺样式和体裁之中。
As the types of Aesthetic, the tragic style and comic style include not only drama, but also fine arts, music, film, poem, novel, and so on.
审美性体现在文学的整个流程之中，从作家的创作、文本语言的组织、读者的阅读到对一部作品的评价和认可，审美性无处不在。
Aesthetic reflected in the literature of the entire process, from the writer's creation, language text, readers to the works of a review and accreditation Aesthetic everywhere.
审美性体现在文学的整个流程之中，从作家的创作、文本语言的组织、读者的阅读到对一部作品的评价和认可，审美性无处不在。
Aesthetic reflected in the literature of the entire process, from the writer's creation, language text, readers to the works of a review and accreditation Aesthetic everywhere.
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