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<pubDate>Sun, 03 May 2026 12:16:23 +0800</pubDate>
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<description>诗词意象</description>
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<title>诗词意象</title>
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<title>诗词意象</title>
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<title><![CDATA[诗歌的意象美]]></title>
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<description><![CDATA[第七节诗歌的意象美在文学体裁中诗歌和散文主要刻画意象，小说和戏剧侧重塑造人物形象。罗良功在《英诗概论》中认为意象是诗歌意义的灵魂，   ]]></description>
<pubDate>2020-02-20 14:51:06</pubDate>
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<title><![CDATA[诗歌意象美的再现]]></title>
<link><![CDATA[https://www.pinshiwen.com/yixiang/20200220264794.html]]></link>
<description><![CDATA[第六节诗歌意象美的再现文学是语言的艺术，诗歌是语言的最高艺术，描写意象最为精致。文学翻译是译语的艺术，诗歌翻译是译语的最高艺术，译   ]]></description>
<pubDate>2020-02-20 14:51:05</pubDate>
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<title><![CDATA[译者阐释原作意境的审美心理机制]]></title>
<link><![CDATA[https://www.pinshiwen.com/yixiang/20200220264793.html]]></link>
<description><![CDATA[第五节译者阐释原作意境的审美心理机制译者阐释原作意境需要充分发挥审美感知、审美情感、审美想象、审美判断、审美直觉等审美心理机制，对   ]]></description>
<pubDate>2020-02-20 14:51:05</pubDate>
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<title><![CDATA[译者的审美感知和想象]]></title>
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<description><![CDATA[第三节译者的审美感知和想象前面谈道，文学作品的审美意象和艺术画面只是潜在于语言文字符号中，因此译者必须充分发挥想象和联想，才能在头   ]]></description>
<pubDate>2020-02-20 14:51:04</pubDate>
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<title><![CDATA[译者对原作意象的审美体验]]></title>
<link><![CDATA[https://www.pinshiwen.com/yixiang/20200220264791.html]]></link>
<description><![CDATA[第二节译者对原作意象的审美体验文学作品的审美意象蕴含了作家（作品人物）的审美体验，审美体验是指主体对客体内在审美价值和属性的感受和   ]]></description>
<pubDate>2020-02-20 14:51:04</pubDate>
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<title><![CDATA[译者对原作意境的生命体验]]></title>
<link><![CDATA[https://www.pinshiwen.com/yixiang/20200220264790.html]]></link>
<description><![CDATA[第十一节译者对原作意境的生命体验文学作品的深层意境蕴含了作家的生命体验和对人生的哲理反思，表现了作家的个体艺术生命。译者对原作深层   ]]></description>
<pubDate>2020-02-20 14:51:03</pubDate>
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<title><![CDATA[译者对原作意境的体悟]]></title>
<link><![CDATA[https://www.pinshiwen.com/yixiang/20200220264789.html]]></link>
<description><![CDATA[第十节译者对原作意境的体悟译者阐释原作深层意境（深刻的历史人生体验和宇宙生命意识），需要悟道、体道。严羽在《沧浪诗话》中说：&ldquo;大抵   ]]></description>
<pubDate>2020-02-20 14:51:03</pubDate>
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<title><![CDATA[西方意象派诗歌的翻译]]></title>
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<description><![CDATA[第九节西方意象派诗歌的翻译中国文学源远流长，尤其是汉语诗歌以其优美的文字、丰富的意象和深远的意境而独具魅力，对中外读者始终充满了吸   ]]></description>
<pubDate>2020-02-20 14:51:02</pubDate>
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<title><![CDATA[西方意象派诗歌的意象美]]></title>
<link><![CDATA[https://www.pinshiwen.com/yixiang/20200220264787.html]]></link>
<description><![CDATA[第十一节西方意象派诗歌的意象美西方意象派诗人深受中国古典诗歌的影响，在诗歌创作和翻译中对汉语（汉字）的图形美和意象美产生了浓厚兴趣   ]]></description>
<pubDate>2020-02-20 14:51:02</pubDate>
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<title><![CDATA[自然意象的翻译]]></title>
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<description><![CDATA[第一节自然意象的翻译文学作品的自然意象反映了一个民族的文化宇宙观。中国文化是典型的大陆文化，强调天地人合一，中国文学作品的自然意象   ]]></description>
<pubDate>2020-02-20 14:51:01</pubDate>
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<title><![CDATA[社会意象的翻译]]></title>
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<description><![CDATA[第二节社会意象的翻译文学作品的文化意象除了自然意象外，还包含社会意象。中国文学作品的社会意象传达了汉民族的审美情感和心理体验，蕴涵   ]]></description>
<pubDate>2020-02-20 14:51:01</pubDate>
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<title><![CDATA[文化意象翻译中的归化与异化]]></title>
<link><![CDATA[https://www.pinshiwen.com/yixiang/20200220264784.html]]></link>
<description><![CDATA[第三节文化意象翻译中的归化与异化文化意象翻译是源语文化与译语文化之间的一种交流过程，两种文化的相通之处构成文化意象翻译的基础，其差   ]]></description>
<pubDate>2020-02-20 14:51:00</pubDate>
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<title><![CDATA[文化宇宙观与意境体验]]></title>
<link><![CDATA[https://www.pinshiwen.com/yixiang/20200220264783.html]]></link>
<description><![CDATA[第十二节文化宇宙观与意境体验文学作品的深层意境往往包含了深刻的宇宙生命体验，表现了特定民族的宇宙文化观。译者阐释原作深层意境，需要   ]]></description>
<pubDate>2020-02-20 14:51:00</pubDate>
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<title><![CDATA[散文的意象美]]></title>
<link><![CDATA[https://www.pinshiwen.com/yixiang/20200220264782.html]]></link>
<description><![CDATA[第八节散文的意象美散文的特点是形散神聚，散文的意象具有画意美，方遒在《写作学新稿》中认为散文有&ldquo;状物绘景、叙写风情风物&rdquo;的功能，散   ]]></description>
<pubDate>2020-02-20 14:50:59</pubDate>
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<title><![CDATA[散文意象美的再现]]></title>
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<description><![CDATA[第七节散文意象美的再现在散文翻译中译者要充分发挥译语的表达力，力求生动地再现原文的意象画面和思想情感内涵。龚光明在《翻译思维学》中   ]]></description>
<pubDate>2020-02-20 14:50:59</pubDate>
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<title><![CDATA[原作语言的意象美]]></title>
<link><![CDATA[https://www.pinshiwen.com/yixiang/20200220264780.html]]></link>
<description><![CDATA[第一节原作语言的意象美文学翻译以文学创作为基础和前提，译者要阐释原作的意象美，首先要了解作家创造意象的过程。文学创作包含三个阶段：   ]]></description>
<pubDate>2020-02-20 14:50:58</pubDate>
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<title><![CDATA[原作语言的意境美]]></title>
<link><![CDATA[https://www.pinshiwen.com/yixiang/20200220264779.html]]></link>
<description><![CDATA[第一节原作语言的意境美文学作品中的意象通过相互连接、呼应和映衬形成一个有机系统，它所能表现的最高艺术境界就是意境。意境的两个基本要   ]]></description>
<pubDate>2020-02-20 14:50:58</pubDate>
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<title><![CDATA[原作神话意象和原型意象的再现]]></title>
<link><![CDATA[https://www.pinshiwen.com/yixiang/20200220264778.html]]></link>
<description><![CDATA[第八节原作神话意象和原型意象的再现文学作品常常通过神话和原型意象来表达深刻复杂的思想感情和文化内涵，表现特定民族的世界观、人生观、   ]]></description>
<pubDate>2020-02-20 14:50:57</pubDate>
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<title><![CDATA[原作的神话意象]]></title>
<link><![CDATA[https://www.pinshiwen.com/yixiang/20200220264777.html]]></link>
<description><![CDATA[第九节原作的神话意象在文学创作中作家常常通过神话意象来表达深刻复杂的思想感情和文化内涵，神话意象是一种文化意象。李咏吟在《诗学解释   ]]></description>
<pubDate>2020-02-20 14:50:57</pubDate>
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<title><![CDATA[原作的文字图形美]]></title>
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<description><![CDATA[第五节原作的文字图形美文学作品（尤其诗歌）的语言符号本身也往往富于图形美。辜正坤在《中西诗比较鉴赏与翻译理论》中认为诗歌具有外在的   ]]></description>
<pubDate>2020-02-20 14:50:56</pubDate>
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