马致远,Ma Zhiyuan
1)Ma Zhiyuan马致远
1.Disrespectful Plays:An Exploration ofMa Zhiyuan s Seclusive Culture and Spirit;污渎之中的游戏:马致远隐逸文化精神探析
2.A Comparison betweenMa Zhiyuan’s and Li Bai’s Expressing Styles;马致远与李白抒情风格比较
3.The Spiritual Connotation ofMa Zhiyuan s Works;论马致远剧作的精神内涵
英文短句/例句
1.Fresh Ideas on the Cultural Significance of Horses--On MA Zhi-yuan s Non-dramatic Song“Borrowing Horse”;“马”的文化意义新探——重读马致远《耍孩儿·借马》
2.On the Artistic Creation in the Autumn in Palace by Ma Zhiyuan;论马致远的创作心态与杂剧《汉宫秋》
3.On Ma Zhiyuan s Thought in Autumn, to the Melody of Yexingchuan, Shuangdiao;马致远《双调·夜行船·秋思》探析
4.The Quanzhen Jiao s Influence to the Play Thoughts of MA Zhi-yuan;全真教对马致远杂剧思想内容的影响
5.The Questing of Life Ideas In Ma ZhiYuan s 4 Immortal Dramas;马致远神仙道化戏对生活理念的追问
6.National Consciousness and the Feeling of Standing Aloof from Worldly Affairs in Immortal Drama;马致远“仙道”剧中的民族意识与隐士情怀
7.From HUANGLIANG DREAM to Look at the Cultural Significance of the Immortal-taoism Operas by MaZhiyuan;从《黄粱梦》看马致远“神仙道化”剧的文化意义
8.Disrespectful Plays:An Exploration of Ma Zhiyuan s Seclusive Culture and Spirit;污渎之中的游戏:马致远隐逸文化精神探析
9.Ancestor of Autumn Thoughts Absolute Sounds of Nature--analyzing “Autumn Thoughts: To the Tune of Tian Jing Sha” written by Ma Zhiyuan;秋思之祖 纯是天籁——马致远《天净沙·秋思》解读
10.Experiencing Lonliness & Releasing Emotions--Interpritation of Ma Zhi-yuan s "Tian Jing Sha. Meditation in Autumn;体验孤独 释放情感——解读马致远《天净沙·秋思》
11.A Tragedy of Traditional Scholars--On Ma Zhiyuan s Autumn in Palace;一部传统文人的人生悲剧——也谈马致远的《汉宫秋》
12.Between Expression and Re-expression--On Subjectivity of Ma Zhiyuan"s Zaju在表现与再现之间——论马致远杂剧的创作主体性
13.Errors in Punctuating and Proofreading MA Zhi-yuan"s Music"s Catalogues and Dramatic Style从曲律、曲韵查核诸家对马致远曲点校的失误
14.Copper pea" and "Celestial Being Ma;“铜豌豆“与“马神仙“——试论关汉卿、马致远杂剧创作倾向之不同
15.A comparison between the non-dramatic songs by Ma zhiyuan and by Zhang Kejiu;以剧曲为曲与以词为曲——马致远与张可久散曲之比较
16.NOBLE CHARACTER SELF COMES INTO BEING FROM CIRCUNSTANCES: COMPARISON OF ZHIYUAN MA--ABOUT AUTUMN THINKING AND NAMEESS WORK--VETERAN WITH HANGING VINES;有境界自成高格:马致远《秋思》与无名氏《老树悬藤挂》比较
17.On the Problems of the Writing Style of "Using Happiness instead of Sorrow"--And the Problems of Ma Zhi-yuan s Editions;“以乐写哀”不足取——兼及马致远《天净沙·秋思》的版本问题
18.Fuzziness and Literary Translation──The Analysis of Different Version of Tian Jing Sha·Qiu Si;模糊与文学翻译——试析马致远《天净沙·秋思》的不同英译
相关短句/例句
Ma Zhi-yuan马致远
1.Errors in Punctuating and Proofreading MA Zhi-yuan"s Music"s Catalogues and Dramatic Style从曲律、曲韵查核诸家对马致远曲点校的失误
2.Ma Zhi-yuan s Sanqu is very abundant in content, which not only reflects the author s ideological course and his attitude on life, but also mirrored how the Confucianism,, Buddhism and Taoism, the three schools thoughts in Yuan Dynasty, had impact on Chinese scholars.马致远散曲有十分丰富的内容,其中既体现了作者的思想历程和人生态度,也反映出元代儒、释、道三家思想对文人的影响。
3)MaZhiyuan"s Zaju马致远杂剧
4)Study on Zaju of Ma Zhiyuan马致远杂剧研究
5)Mɑ Zhiyuɑn马致远(约1250～1321至1324间)
6)far-reaching result致远
延伸阅读
马致远马致远(约1250～约1324)中国元代戏曲作家，散曲家。号东篱，一说字千里。大都(今北京)人。曾任江浙行省官吏，仕途不得志，后归隐山林。著有杂剧15种，今存《破幽梦孤雁汉宫秋》、《江州司马青衫泪》、《西华山陈抟高卧》、《吕洞宾三醉岳阳楼》、《马丹阳三度任风子》、《半夜雷轰荐福碑》以及与人合写的《邯郸道省悟黄粱梦》等7种。代表作《汉宫秋》取材于汉代王昭君和亲故事，但情节有较大改动，以汉元帝和王昭君的爱情为主线，同时揭露了汉朝君臣的昏庸和无能，塑造了王昭君这一爱国者的形象。这一形象成为后来戏曲中汉明妃的定型。马致远的散曲今存120多首，成就为元人之冠。作品内容主要有叹世、咏景、恋情3类。声调和谐优美、语言清新豪爽，善于捕捉形象来熔铸诗的意境，提高了曲的格调，对散曲的发展与提高作出了贡献。其[双调夜行船]套曲、[天净沙]“枯藤老树昏鸦”等历来被人推为元代散曲中的极品。今人任中敏辑有散曲集《东篱乐府》。《汉宫秋》插图（明代顾曲斋刊本）
