The largest consistence of their discussion is to respect Ci style, and defend its exquisite style.
他们词论最大的共通性在于，都在努力地推尊词体，维护词体高雅的格调。
In the 20th century, Deng Tuo created poetry and Ci with his own style, ideas and talent.
邓拓是20世纪诗词史上以自己的思想和才情创造了鲜明风格的人。
It is has established the foundation for the later period Ci poem creation and the style formation.
此期遗山词为后期词的创作和风格的形成奠定了基础。
Ci both includes traditional implicit potential, and conforms to the popularization trend of language on base of music and street style.
词体既包含着诗歌传统含蓄的潜质，又以音乐和市井情调为依托，顺应了语言俗化的“发越”趋势。
Ci poems from Southern Song Dynasty show their unique artistic style.
南宋词表现出较为独特的艺术风格。
He chooses many light and delicate images, thus forming a quiet and subtle yet far-reaching spiritual realm in his Ci, and giving them a style of delicacy.
韩淲词多选取一些空灵、清淡的意象，从而生成清幽淡远的意境，呈现出清淡的艺术风格。
The maturity and prosperity of the prelude of Ci created new style for the form of Song Ci.
词中题序在宋代的成熟和繁荣为宋词形式开拓了新的模式。
Through the analyze of aesthetics meaning of KongLing, I try to get the innate cream of this special verse and the literature gist of Ci-poetry-the style of Song-Dynasty.
通过分析“空灵”的美学意义，力图探寻词这种特殊的诗体的内在精蕴，以及词作为有宋一代文学样式的文学精神。
This paper thinks that ci' s true qualities is the style of femininity , not only the music.
当时的“本色”应该是属于“女性特色”的风格判断，而不仅仅是音乐性特征的认定。
The subject matter and style of the Ci-Poems during Dading and Mingchang mainly expressed pastoral and seclusion.
大定、明昌词的主题风格主要表现为田园、隐逸。
The author holds that it is hard to define the style of the so-called Dasheng School of Ci as being classical and elegant.
所谓的“大晟词派”，所追求的很难说就是“典雅”的风格；它也不能称为“格律”词派；
As a unique literature style, ci was spreading under history and culture circumstances of Beisong Dynasty.
词作为一种独特的文学样式，它在北宋时期的接受与传播，离不开当时的历史文化环境。
Ci is an important literary lyrical style, carrying the author's joy and sorrow.
词是我国一种重要的抒情文学样式，承载着作者的欢喜与悲愁。
Yi an style becomes apotheosis of Ci for its easy language, tuneful swing, gentle and firm style and latent and beautiful charm.
易安体以明白如话的语言、和谐的音律、柔中寓刚的风格、尽而不尽的韵味，而成为词家当行本色的典范。
It was advised that CI of Chinese style should come back to rationality and systematization, and be he product of the combination of international CI theory and Chinese successful practice.
提出中国型CI应该回归理性，回归系统化，应该是国际CI理论同中国企业的成功实践相结合的产物。
Classifying and analyzing poems of Many Authors, from one aspect, the functions of ancient style poetry and ci-poems on profiting temperament and improve human cultural qualities in school education.
通过对《千家诗》的归类分析，从一侧面揭示了旧体诗词在学校教育中润化心性、提高人文素质的作用。
The paper tries to analyse the theme of works to understand its art and style, so we can define his due position in the history of Ci.
论文力图从解读作品出发，全面分析其词作的主题取向，明确其在词史上应有的地位。
This paper is the study on evolution and causation of ci-poetry style in late Ming and early Qing.
本论文研究明末清初词风嬗变特点和产生原因。
Not only in spiritual core, but also in the artistic style, Chu-Ci had quite an effect on his poem-ode.
不仅在精神内核上，而且在艺术形式上，其诗赋都受到楚辞的浸染。
The influences of the system of examining Ci Fu in imperial examinations, style-respect awareness and the learning of the Qianlong and Jiaqing Periods on Ci Fu study are analyzed.
本文主要从当时的科举试赋制度，尊体意识与乾嘉学术的影响等三个层面作出简要的论述。
Ci - style was once the popular words of Qu in Sui and Tang Dynasty.
词体在隋唐之际本是合乐而歌的流行曲子；
Their ideas played an important role in the transition of Ci from Hua Jian style to the Northern Song in the history of Ci's ideas.
在词学思想史上，南唐词学思想是由花间过渡到北宋的一个重要环节。
Yun Shao collectanea and Criterion of Ci are the two? Collectaneas, edited by Chen Tingzhuo in his early and later period, which has shown different thought and has different style.
《云韶集》和《词则》分别是陈廷焯前后期编撰的词选，代表了不同的思想，在编撰上各具特色。
Writing Ci-poems in Prose Style" is an important concept in the history of Chinese ci-poem criticism."
“以文为词”是中国词学批评史上一个重要的词学概念。
The existing Sanshengtongxie of Song's Ci has always been regarded as Ci, most of which could be regarded as the names of tunes or nearly as the style of Qu.
而现存宋词中三声通押之调历来被视为词者多可以曲牌视之，或近于曲体。
The existing Sanshengtongxie of Song's Ci has always been regarded as Ci, most of which could be regarded as the names of tunes or nearly as the style of Qu.
而现存宋词中三声通押之调历来被视为词者多可以曲牌视之，或近于曲体。
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