焦卡德 的英文怎麼說
中文拼音 [jiāokǎdé]
焦卡德
英文
chowghat-
Harold bloom, a monumental and legendary figure of literary criticism at yale university, a name that cannot be avoided in poetry criticism, is one of the strongest and definitely the most prolific critics of his generation or of several past generations. professor xu jing, correspondent of foreign literature studies, interviewed professor bloom in may 2006. this interview focuses on his theory of poetry that was explosively brought forth in the 1970s by his famous tetralogy : the anxiety of influence, a map of misreading, kabbalah and criticism, and poetry and repression. bloom regards his theory of " the anxiety of influence " as his most important contribution to literary criticism, and uses " dancing " to explain his famous yet baffling six rations of " misprision. " always preoccupied with his own theory, bloom here again traces the precursors of emily dickinson and makes a brief comparison between walt whitman and wallace stevens. looking back to his past, bloom gives a summation of his life ' s trajectory as a critic : a revivalist of romantic poetry, a theoretician of poetry, and a critic for the general public. bloom began his career as a critic of british romantic literature in the afterglow of the new criticism. in the 1970s, bloom brought forth his explosive " theory of poetry " in the tetralogy publised in very quick succession in the 1970s. since the 1980s, bloom has become less technical and hopes to reach a wider readership. his literary criticism and what he calls his " criticism of religion " for the general public have made harold bloom a household name in america as well as in the world. at present, the 76 - year - old harold bloom is intensely engaged in the writing of what he hopes to be his masterpiece, the anatomy of influence, which is to be published in 2008 by princeton university press
哈羅德?布魯姆教授是耶魯大學具有里程碑意義和傳奇色彩的文學批評家，一個詩歌批評界的一個不可迴避的名字，是他那一代人或幾代人中最猛烈的、也無疑是最多產的批評家之一.本刊特約記者徐靜於2006年5月對布魯姆教授進行了采訪.本次訪談的重點是布魯姆在20世紀70年代以《影響的焦慮》 、 《誤讀的地圖》 、 《卡巴拉與批評》 、 《詩歌與壓抑》四部曲的形式相繼提出的、具有爆炸性的"詩歌理論" .布魯姆認為"影響的焦慮"是他對文學批評最重要的貢獻，並用舞蹈這一形象的比喻來解釋了他那著名的卻常常令人困惑的關于"誤讀"的"六個定量" .在訪談中，布魯姆還追溯了幾位對愛米莉?狄金森頗有影響的前輩詩人，並簡單比較了惠特曼和史蒂文斯.布魯姆將他的批評生涯概括為三個階段:浪漫主義詩歌的復興者，詩歌理論家以及面向大眾的批評者.在新批評的余輝中，布魯姆以對英國浪漫主義詩歌的批評開始了其批評生涯. 20世紀70年代布魯姆提出了他那爆炸性的、以四部曲的形式相繼問世的"詩歌理論" .進入80年代后，布魯姆的批評不再艱深難懂，他希望能擁有更廣大的讀者群.他為普通大眾所寫的文學批評及"宗教批評" （布魯姆語）使得哈羅德?布魯姆成為了美國以及全世界的一個家喻戶曉的名字.目前， 76歲的布魯姆正全力寫作《影響的解剖》一書，將於2008年由普林斯頓大學出版社出版Three days after the scene we have just described, namely towards five o clock in the afternoon of the day fixed for the signature of the contract between mademoiselle eug nie danglars and andrea cavalcanti, - whom the banker persisted in calling prince, - a fresh breeze was stirring the leaves in the little garden in front of the count of monte cristo s house, and the count was preparing to go out. while his horses were impatiently pawing the ground, - held in by the coachman, who had been seated a quarter of an hour on his box, - the elegant phaeton with which we are familiar rapidly turned the angle of the entrance - gate, and cast out on the doorsteps m. andrea cavalcanti, as decked up and gay as if he were going to marry a princess
在我們上文講述過的那幕場面發生后的三天，也就是說，在歐熱妮騰格拉爾小姐和被那位銀行家堅持稱為王子的安德烈卡瓦爾康蒂將要和騰格拉爾簽訂婚約的那天下午五點鐘左右，一陣清新的微風吹過了基督山伯爵屋前的小花園，伯爵正準備出去，他的馬在焦躁不安地踢著地面，車夫在控制著馬，他已經在他的座位上等了一刻鐘了。From that foundation, law kar and shu kei probe into mp gi s creative environment, looking at the roles played by studio head loke wan tho and established writers who were involved in the company s scripts. shu even makes the bold attempt to discuss the issues of house style and how individual fimmakers operate within the studio system. finally, stephen teo focuses on the martial arts films of cathay s later period, looking at them from a fresh perspective and filling a gap often neglected in hong kong cinema
羅卡和舒琪從這個基礎出發，分別探討電懋的創作處境，特別是主事人陸運濤的角色以及文人編劇在制度內的位置，後者更嘗試分析個別創作人如張徹在片廠制度內的存適以及片廠風格等問題，大膽精彩最後，張建德將焦點放在後期國泰的武俠電影上，以一個不尋常的角度豐富了較後期的國泰故事，也為香港電影里武俠類型的演變，填補了一個鮮為人所注意到的空隙。
分享友人