物哀是日本江户时代国学大家本居宣长(もとおりのりながMotooriNorinaga)提出的文学理念,也可以说是他的世界观,这个概念简单地说,是“真情流露”。这个主题也在日本著作《源氏物语》中得到了很好的体现
论日本饮食文化中的美意识-毕业论文参考网 关键词:日本饮食 审美意识 幽玄 物哀 自然观 [gap=782]Key words: Japanese Full Diet; aesthetic consciousness; YUGEN; mono no aware; natural view
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“Sorrow for objects”is the important ancient literature trend in Japan. It influents people’s inner world and becomes the symbol of Japanese aesthetic culture.
“物哀”是日本古代重要文学思潮,并影响着日本人的精神世界,成为其民族审美文化的象征;“物感”是中国六朝时期重要的文论。
参考来源 - “物感”说与“物哀”说In chapter one, the writer focuses on the comparison between her works and Genjimonogatari, and proves that Yosimotobanana's works do have inherited the tradition of Japanese literature - "mononoaware" from her description of environment, plant and the use of colors.
在第一章中,第一节着力从自然环境的描写、植物的描写和色彩的运用三个角度,论证吉本芭娜娜的作品传承了“物哀”的日本文学传统。
参考来源 - 吉本芭娜娜前期作品中的传统与现代·2,447,543篇论文数据,部分数据来源于NoteExpress
通过对“物哀”美学观和语言表达的分析,揭示了佛教思想对日本文学的深远影响。
Based on the analysis of mono-no-awares aesthetic view and language expression, it reveals the far-reaching influence of Buddhist thought over the Japanese literature.
“物哀”是日本传统审美意识中的一个重要观念,“物感”是中国古典美学和艺术理论的重要范畴。
Substance sadness is an important concept of Japanese traditional aesthetic judgment while substance feeling is a major field of Chinese aesthetics and art theory.
鲁迅散文诗集《野草》受日本传统美学思想影响,在植物审美观、无色自然观、“知物哀”方面建构了诗艺的空寂美,体现了诗人心灵境界“空性”、“无分别心”的层面。
It constructs the beauty of transcendency of poetry from the perspective of aesthetic standards of plant, natural standards of colorlessness and the spiritual sustenance of feeling of objects.
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