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范文澜与毛泽东:学术的关联和风格的共鸣 总被引:3,自引:0,他引:3
范文澜与毛泽东有长达 3 0年的深厚的友谊 ,这对范文澜的学术道路的影响是巨大的。范文澜以研治中国历史作为毕生的学术取向 ,特别是把近代史研究作为治学之一个重点 ,确立了“实事求是”的治史指导思想 ,将马克思主义普遍原理与中国历史的具体实际相结合 ,在长期的学术研究中一贯自觉地防止和反对教条主义 ,积极地倡导和模范地实行百家争鸣等项治学旨趣和特色 ,都是由于受到毛泽东的巨大影响。毛泽东对范文澜的史学研究一贯予以关注 ,并多次给予充分的肯定。范文澜的史著在观点、认识上与毛泽东息息相通 ,他的历史主义的态度 ,成功地运用了“夹叙夹议”的方法 ,站在人民的立场上 ,指点江山评论千古 ,有许多深刻的思想和精辟的见解 ,受到毛泽东的赞赏 ,因而他们成为学术上的知音。范文澜与毛泽东各自在学术领域和政治领域 ,代表了 2 0世纪中国的时代精神 ,又同样具有浓厚的中国民族的特色 ,因而彼此在精神上保持着强烈的共鸣。 相似文献
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魏晋南北朝时期,既是中古宗族势力发展的顶点,也是其由盛而衰的转折点。各王朝在巩固与发展的过程中,一方面虽然必须借助于宗族与士族势力的支持;另一方面,它们都与异己的宗族与士族势力进行着强力的较量,并开始清理宗族势力在乡村社会中的根基。就其宗族政策而言,魏晋以依托为主,南北朝以收拢为主;收拢之力度南不如北。至隋唐时期,旧式宗族逐渐消解,新式宗族开始登上历史舞台,隋唐王朝则从制度上完成了对宗族这一社会力量的有效分解与钳制。在隋唐宗族政策的冲击下,中古宗族的政治与军事功能逐渐消退,经济互助功能以及血缘凝聚力的效能与影响明显逊于前代,宗族威权发生蜕变,开始了向近古新型宗族的演进。 相似文献
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《Central Europe》2013,11(2):102-126
AbstractDezs? Szabó (born 1879, Klausenburg/Kolozsvár/Cluj, Austria-Hungary, died 1945, Budapest) was a towering figure of his generation. Literary critic, social pamphleteer, satirist, and novelist, he aroused strong passions on all sides with his rhetorically freighted prose and his fluid, yet forceful, political views. All accounts of his work concentrate on its intent, content, or consequences, and it is widely agreed that Szabó’s ‘style’ was his most prominent trait. And yet it is as if the political and ideological impact of the man has all but eclipsed the writing itself: with the exception of one brief monograph of 1937, we have no study devoted to the detailed examination of the ways in which he used Hungarian. Such a study is what is attempted in this essay. The method is primarily linguistic: all pertinent features of Szabó’s use of Hungarian are discussed, from the submorphemic (alliteration and other sound-patterning) through his immoderate derivational morphology, overstuffed noun phrases, and idiosyncratic lexis. 相似文献
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京派作家以清新恬淡的笔触抒写田园诗般的人生,传达出深沉的宇宙意识。本文试从中国古典美学角度入手,分析京派文学体现出的“虚空”与“充实”的境界。 相似文献
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There have been an increasing number of reports of postamputation pain and problems linked to phantom limbs over recent years, particularly in relation to war-related amputations. These problems, which are often poorly understood and considered rather mysterious, are still relevant because they are difficult to treat medically. Functional neuroimaging techniques now enable us to better understand their pathophysiology and to consider new rehabilitation techniques. Phantom limbs have often been a source of inspiration to writers, particularly in the period following the First World War, which was responsible for thousands of amputees. Some artists have suffered from postamputation complications themselves and have expressed them through their artistic works. Blaise Cendrars (1887–1961), one of the greatest authors of the twentieth century, suffered from stump pain and phantom limb phenomena for almost half a century following the amputation of his right arm during the First World War. He suffered from these phenomena until the end of his life and his literary work and personal correspondence are peppered with references to them. Arthur Rimbaud (1854–1891), one of the most famous poets in world literature, developed severe stump pain after his right leg was amputated due to a tumor. He survived for only six months after the procedure but left behind an account of the pain he experienced in correspondence to his family. The famous pianist Paul Wittgenstein (1887–1961), whose right arm was amputated during the First World War, became a famous left-handed concert pianist. The phantom movements of his right hand helped him to develop the dexterity of his left hand. The impact on the artistic life of these three men provides an original illustration of the various postamputation complications, specifically phantom limbs, stump pain, and moving phantom. 相似文献
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唐代诏敕即唐朝皇帝的圣旨。宣谕天子之命、教化臣民的政治功用性。以及草诏者高超的文章技巧,赋予了唐代诏敕高雅华丽的主体风貌,纯熟的用典艺术是它突出的文学特征之一。用典美化了唐代诏敕的文章形式:使其语辞华丽,对仗严整,切合声律;使其援古证今,言之有据;使其减少了冗词赘句,以微言传达出深意。对唐代诏敕用典艺术的考察,是一项有意义的文学研究活动。 相似文献
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《红楼梦》是宽政六年末(1795年初)传入日本的,而最早的日译诞生在将近100年后的1892年。这一年4月,森槐南在《城南评论》上发表了《红楼梦》第一回楔子部分的译文,题为《红楼梦序词》,署名“槐梦南柯”。这篇译文的产生并非偶然,它是在清朝首届驻日公使馆员们向日本文人学者大力推介《红楼梦》的背景下诞生的,同时也与坪内逍遥否定劝善惩恶的小说写作传统,提倡写实主义的日本近代文坛的变革遥相呼应。本文重点考察这篇译文的翻译背景、徒用底太、翻译风格、翻译目的等问题. 相似文献