| 摘要:（摘要内容经过系统自动伪原创处理以避免复制，下载原文正常，内容请直接查看目录。） 俄国情势主义主意回到文学外部，从文艺本身找纪律。提出“文学性”“生疏化”等实际。作为一种文艺实际，俄语论文题目，俄国情势主义有本身自力的体系和系统。八十年月初它被引进中国。但是对于如许一种实际我们究竟该持何种立场。应当如何对待。最好的看待一种实际的措施就是用这类实际去解读本国的著作。本文就将以《三国演义》为例，经由过程对它停止的情势主义的剖析与解读来对待俄国情势主义在中国的顺应性，和它所存在的妨碍。 Abstract: Russian formalism to return to literature, from the literature itself to find discipline. Put forward "Literature" and "unfamiliar" and so on. As a kind of literature and art theory, Russian formalism has its own system and system. It was introduced into China at the beginning of eighty years. But on what kind of position we should take on such a reality. Should be how to treat. One of the best ways to look at a practical way is to use this kind of reality to interpret the works of the country. This article will take the "Romance of the Three Kingdoms" as an example, through the process of the analysis and interpretation of the situation in which it stopped to treat the Russian situation in China's compliance, and its existence. 目录: 封面 1-2 |
