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出版社 : 東南大學出版社
總數: 6
日本語動詞表現の研究
作者
程玲
分類號
OL5.17.4 011
出版社
東南大學出版社
出版年
2010
外語學習大觀園
黃龍
外語學習大觀園
作者
黃龍
分類號
E5.1.6 026
出版社
東南大學出版社
出版年
1989
偵探小說評析
作者
劉偉民
分類號
C4.6.3 008
出版社
東南大學出版社
主題
中文
語言與文學
現當代文學研究與評論
一樣悲歡都是離合--論中國電影的叙事結構模式
作者
岳曉英
分類號
C3.3.2 044
出版社
東南大學出版社
主題
語言與文化、媒體
註釋
岳曉英的《一樣悲歡都是離合:論中國電影的敍事結構模式》以一百多年來中國(包括港、澳、台)電影創作為關注物件,考察悲歡離合敍事結構作為一種具有深厚文化積澱的結構模式對中國電影敍事所產生的深刻影響,借此探究中國電影獨特的敍事美學風貌和民族個性。本書涉及影視教育、影視製作行業,適於影視行業從業者以及研究者和愛好者閱讀參考。 目錄 緒論 一、中國電影悲歡離合敍事結構的提出 二、研究綜 三、研究物件以及研究方法 第一章 對百年中國電影悲歡離合敍事結構的梳理 第一節 中國內地電影的悲歡離合敍事結構 一、新中國之前:逐漸成熟 二、“十七年”時期:漸趨豐富 三、新時期以來:深入發展 第二節 港澳臺電影的悲歡離合敍事結構 一、香港電影的悲歡離合敍事結構 二、臺灣電影的悲歡離合敍事結構 三、澳門電影的悲歡離合敍事結構 第二章 中國電影悲歡離合敍事結構的藝術形式 第一節 敍事時間的整體性 一、故事持續時間遠遠大於銀幕持續時間 二、整體性敍事時間導致獨特的視聽呈現 三、影片敍事的動力 第二節 敍事空間的穩固性 一、故事空間的穩固性 二、鏡頭空間的非“縫合” 三、敍事空間的象徵色彩 第三節 時空結構的流動回環 一、點與點連綴的流動 二、首與尾銜接的回環 第四節 對比性的情節、角色設置與貫穿始終的意象 一、正反對比或奇正相生 二、貫穿影片始終的意象 第五節 全知敍事和敍述者的在場 第三章 中國電影悲歡離合敍事結構的藝術魅力 第一節 曲折掩映的敍事構思 第二節 委婉動人的情感抒發 一、對抒情性的追求 二、運用的抒情手段 第三節 悲喜交融的審美境界 一、對純正的悲劇和喜劇的背離 二、對悲喜交融審美境界的追求 三、對人生命運的超越性叩問 第四章 中國電影悲歡離合敍事結構的形態演變 第一節 始離終合的情節劇樣式 一、順時序展開敍事 二、善惡分明的角色 三、故事世界的封閉 第二節 情節劇與歷史劇的融合 一、歷史對情節劇的滲透 二、以回憶形式表現離別 第三節 淡化離合的散文劇樣式 一、散點透視 二、打破封閉 第五章 中國電影悲歡離合敍事結構的存在原因 第一節 百年中國離亂現實的影像呈現 第二節 中國文化傳統對電影敍事的影響 一、中國傳統的時空意識 二、整體性把握的思維方式 三、中國的家族主義傳統 第三節 電影作為大眾傳播媒介 一、電影觀眾的文化屬性 二、中國觀眾的接受視野 結語 參考文獻 後記
漢魏六朝文學論稿
作者
皋于厚
分類號
C4.3.2 009
出版社
東南大學出版社
主題
語文與文學
註釋
本書選漢魏六朝文學論文稿件15篇。包括《試論左思及其詩賦創作》、《“揚植抑丕”與民族文化心理》、《論鮑照詩歌的“險俗”風格》、《謝靈運的政治態度和思想品格》、《試論謝靈運詩歌“新”和“麗”的特色》等。本書作為文學研究工作、高等院校教學工作以及其他文化工作中的參考用書。 論《史記》的批判精神 試論左思及其詩賦創作 “揚植抑丕”與民族文化心理 論鮑照詩歌的“險俗”風格 謝靈運的政治態度和思想品格 試論謝靈運詩歌“新”和“麗”的特色 謝靈運詩歌中的情、景、理 試論謝靈運山水詩的產生基礎 試論謝靈運詩歌的藝術淵源 謝靈運詩歌對後世的影響及其在文學史上的地位 關於謝靈運的幾點考證 謝靈運詩文系年 謝瞻、謝惠連、謝莊詩文簡析 漢魏六朝的俠義小說與公案小說 搜神記與魏晉民間文化 主要參考文獻
中國游記文獻研究
作者
賈鴻雁
分類號
C5.3.3 008
出版社
東南大學出版社
主題
語言與文獻