簡(jiǎn)介：LISHUJIAN’SHENANOPERAARTRESEARCHADISSERTATIONSUBMITTEDTOTHEGRADUATESCHOOLOFHENANUNIVERSITYINPARTIALFULFILLMENTOFTHEREQUIREMENTSFORTHEDEGREEOFMASTEROFARTSBYLIHUIPENGSUPERVISORPROF．TANGGUIQINGMAY,2012關(guān)于學(xué)位論文獨(dú)創(chuàng)聲明和學(xué)術(shù)誠(chéng)信承諾本人向河南大學(xué)提出碩士學(xué)位申請(qǐng)。本人鄭重聲明所呈交的學(xué)位論文是本人在導(dǎo)師的指導(dǎo)下獨(dú)立完成的，對(duì)所研究的課題有新的見解。據(jù)我所知，除丈中特別加以說(shuō)明、標(biāo)注和致謝的地方外，論文中不包括其他人已經(jīng)發(fā)表或撰寫過的研究成果，也不包括其他人為獲得任何教育、科研機(jī)構(gòu)的學(xué)位或證書而使用過的材料。與我一同工作的同事對(duì)本研究所做的任何貢獻(xiàn)均已在論文中作了明確的說(shuō)明并表示了謝意。在此本人鄭重承諾所呈交的學(xué)位論文不存在舞弊作偽行為，文責(zé)自負(fù)。學(xué)位申請(qǐng)人學(xué)位論文作者簽名奎慧咝201≯年月日關(guān)于學(xué)位論文著作權(quán)使用授權(quán)書本人經(jīng)河南大學(xué)審核批準(zhǔn)授予碩士學(xué)位。作為學(xué)位論文的作者，本人完全了解并同意河南大學(xué)有關(guān)保留、使用學(xué)位論文的要求，即河南大學(xué)有權(quán)向國(guó)家圖書館、科研信息機(jī)構(gòu)、數(shù)據(jù)收集機(jī)構(gòu)和本校圖書館等提供學(xué)位論文紙質(zhì)文本和電子文本以供公眾檢索、查閱。本人授權(quán)河南大學(xué)出于宣揚(yáng)、展覽學(xué)校學(xué)術(shù)發(fā)展和進(jìn)行學(xué)術(shù)交流等目的，可以采取影印、縮印、掃描和拷貝等復(fù)制手段保存、匯編學(xué)位論文紙質(zhì)文本和電子文本。涉及保密內(nèi)容的學(xué)位論文在解密后適用本授權(quán)書學(xué)位獲得者學(xué)位論文作者簽名查莖絲201≯年月日學(xué)位論文指導(dǎo)教師簽名2012，年月日

簡(jiǎn)介：華中科技大學(xué)碩士學(xué)位論文解讀海明威的悲劇藝術(shù)姓名丁雅玲申請(qǐng)學(xué)位級(jí)別碩士專業(yè)語(yǔ)言學(xué)及應(yīng)用語(yǔ)言學(xué)指導(dǎo)教師何錫章20051101華中科技大學(xué)碩士學(xué)位論文ABSTRACTHEMINGWAYISCALLED“ONEOF也EMOSTFHINOUSWRITERDLLRINGTLLEP謝ODOFTLLET、VOWORLDWARS”BYWESTEMCRITICCIRCLES．DURINGFONYYEARSOFWRITING，HEMING、ⅣAYHASCREATEDNUMEROUSUNI平LET豫GICFIGURES．MOSTOFMEMAREMALESWHOARECHARACTERIZEDBYDEEPTRAGICCOLOLAMONGTHEM，也EREARCSOMER印RESENTATIVESOFTHELOSTGENERATION，JUSTDEMOCRATICSOLDIERSANDUNIELDINGMENWHOARELIVINGINABARBARIC趾DDISOFDEREDWORLD．WHATMEYAREFACINGINTHEWORLDISHARDANDCRUELSOTHATTHEYHAVETOENDUREA11THEHARDSHIPEVENTHETESTOFDEA恤．EVENUNDERSUCHCIRCLLINSTA士1CESTHEYHAVENOTFALLENDOWN，BUTCHALIENGEDA11DSTRUGGLEDW油THE1NISFONUNESOFLIFEAJLDK叩T幽EIROWNDIGNITYANDGRACEUNDERPRESSURE．WHYCOULDHEMINGWAYCREATESOMANYU11IQUE鯽DTYPICALTRAGICFLGURESTHEMAINREASONISTHATHEHASASSOCIATEDHISLEGENDARYTRAGICLIFE晰MHISTRAGICCREATIONAILDCREATEDUNIQUETMGICFIGURESBELONGINGTOHIMSELFWITHFREUD’SREMARKS，WEMAYNNDTWOTHINGSONHIMLIBIDOAILDTHANATOS，訕1ICHME柚STHEINSTINCTOFLIFCANDDEAM．SOHEMINGWAYISNOTONLYC11ARACTERIZEDBYNAGICCOMPLEXBUTA1SOSHOWSUILYIELDINGSP確．FORTLLOSETRAGICFIGURESSUCHASNICK，JACKA11DHENRY，WECOULDFINDIMENSETRAGICC010RANDHEMINGWAY’SOWN塒地EOFLIFE．THEFIGURESOFUNYIELDINGMENAREALSOT11ESYMB01OFHEMINGWAY’SLHLYIELDINGSPIRIT．KEYWORDSHEMINGWAYTRAGICFIGUREUNYIELDINGSPIRITII

簡(jiǎn)介：VEB0NLE蝻J硝％％岫。|∞胄墟，％％，】礎(chǔ)首都師范大學(xué)碩士學(xué)位論文論文題目西方歌劇與西方音樂劇藝術(shù)特征的比較啦F究M指導(dǎo)教師學(xué)科專業(yè)學(xué)科方向E。拋弗囂選教授音樂學(xué)西艚樂史救學(xué)與研究2006年4』J8口ABSTRACTACOMPARISONBETWEENTHEWESTERNOPERAANDTHEWESTERNMUSICALISMADEINTHISSTUDYINTERMSOFTHEIRORIGINS，DEVELOPMENT，ARTFORMSANDWAYSOFREPRESENTATIONTHESIMILARITIESANDDIFFERENCESINTHEARTFEATURESOFTHEABOVETWOFORMSOFTHEMUSICDRAMAAREANALYZEDREASONSFORTHEDECLINEOFTHEOPERAASWELLASTHEPREVALENCEOFMUSICALAREDISCUSSEDINTHISSTUDYINTHEHOPEOFTHROWINGSOMELIGHTONTHECHINESEMUSICALBESIDESEXPECTATIONSONTHESETWOFORILLSAREMADEITCANBESEENFROMTHEIRHISTORICALDEVELOPMENTTHATWESTERNOPERAANDMUSICALHAVECOMEINTOBEING蘸DIFFERENTPERIODS，THUSHAVETAKENDIFFERENTFORMSACCORDINGTOHISTORICALBACKGROUNDDRAMA，OPERAANDPANTOMIMEALECLASSIFIEDASARESULTOFARTDIVERSITYBROUGHTABOUTBYSCIENCEANDREASONINRENAISSANCEHOWEVERMUSICAL，AHIGHLYCOMPLICATEDFORM，HASBEENPRODUCEDINTHE20哦CENTURYORSOTOACCOMMODATETHEENTERTAININGNEEDSOFTHEMIDDLECLASSITISOBVIOUSTHATTHEWAYWESTERNMUSICALHASBEENFORMEDANDITSDEVELOPMENTAREGREATLYINFLUENCEDBYTHEOPERA。TOBESPECIFIC，OPERETTASERVESASTHETRANSITIONCONNECTINGOPERAANDMUSICAL；WAGNERSHOWEDDIRECTIONFORMUSICAL；THEBEGGAR’SOPERAHASTHEFEATURESOFTHEEARLYMUSICAL；THEWAYOFCOMPOSINGPORGYANDBESSWASJUSTASOPERA’S；SHOWBOATBEARSMORESIMILARITIESTOOPERA。THISSTUDYCARRIESOUTACOMPARISONINTERMSOFTHECOMPREHENSIVESTATEANDTHERELATIONSHIPBETWEENMUSICALANDOPERATHESTUDYSHOWSACCORDINGTOTHEDEMANDSFORSINGING，DANCING，STAGEARTANDPERFORMERSTHATTHEREARECOMNLON

簡(jiǎn)介：四川師范大學(xué)學(xué)位論文獨(dú)創(chuàng)性聲明本人聲明所呈交學(xué)位論文笪選送塹匭嬡匱筮亟劇莖查二二絲亟劇丕蘭遮簋為例，是本人在導(dǎo)師韭棗奎指導(dǎo)下，獨(dú)立進(jìn)行研究工作所取得的成果。除文中已經(jīng)注明引用的內(nèi)容外，本論文不含任何其他個(gè)人或集體己經(jīng)發(fā)表或撰寫過的作品或成果。對(duì)本文的研究做出重要貢獻(xiàn)的個(gè)人和集體，均已在文中以明確方式標(biāo)明。本聲明的法律結(jié)果由本人承擔(dān)。本人承諾已提交的學(xué)位論文電子版與論文紙本的內(nèi)容一致。如因不符而引起的學(xué)術(shù)聲譽(yù)上的損失由本人自負(fù)。學(xué)位論文作者魏雜簽字日期Ⅻ彥年易月乙日四川I師范大學(xué)學(xué)位論文版權(quán)使用授權(quán)書本人同意所撰寫學(xué)位論文的使用授權(quán)遵照學(xué)校的管理規(guī)定學(xué)校作為申請(qǐng)學(xué)位的條件之一，學(xué)位論文著作權(quán)擁有者須授權(quán)所在大學(xué)擁有學(xué)位論文的部分使用權(quán)，即1已獲學(xué)位的研究生必須按學(xué)校規(guī)定提交印刷版和電子版學(xué)位論文，可以將學(xué)位論文的全部或部分內(nèi)容編入有關(guān)數(shù)據(jù)庫(kù)供檢索；2為教學(xué)、科研和學(xué)術(shù)交流目的，學(xué)校可以將公開的學(xué)位論文或解密后的學(xué)位論文作為資料在圖書館、資料室等場(chǎng)所或在有關(guān)網(wǎng)絡(luò)上供閱讀、瀏覽。本人授權(quán)萬(wàn)方數(shù)據(jù)電子出版社將本學(xué)位論文收錄到中國(guó)學(xué)位論文全文數(shù)據(jù)庫(kù)，并通過網(wǎng)絡(luò)向社會(huì)公眾提供信息服務(wù)。同意按相關(guān)規(guī)定享受相關(guān)權(quán)益。保密的學(xué)位論文在解密后適用本授權(quán)書學(xué)位論文作者簽名旒蘚、導(dǎo)師簽名簽字目期砌≥年占月歹日簽字日期哆年2；月≯目四川I師范大學(xué)碩士學(xué)位論文

簡(jiǎn)介：獨(dú)創(chuàng)性聲明本人聲明所呈交的學(xué)位論文是本人在導(dǎo)師指導(dǎo)下進(jìn)行的研究工作及取得的研究成果。據(jù)我所知，除了文中特別加以標(biāo)注和致謝的地方外，論文中不包含其他人已經(jīng)發(fā)表或撰寫過的研究成果，也不包含為獲得或其他教育機(jī)構(gòu)的學(xué)位或證書而使用過的材料。與我一同工作的同志對(duì)本研究所做的任何貢獻(xiàn)均已在論文中作了明確的說(shuō)明并表示謝意。學(xué)位論文作者始到孝叮簽字魄≯711年G月；7日學(xué)位論文版權(quán)使用授權(quán)書本學(xué)位論文作者完全了解有關(guān)保留、使用學(xué)位論文的規(guī)定，有權(quán)保留并向國(guó)家有關(guān)部門或機(jī)構(gòu)送交論文的復(fù)印件和磁盤，允許論文被查閱和借閱。本人授權(quán)可以將學(xué)位論文的全部或部分內(nèi)容編入有關(guān)數(shù)據(jù)庫(kù)進(jìn)行檢索，可以采用影印、縮印或掃描等復(fù)制手段保存、匯編學(xué)位論文。保密的學(xué)位論文在解密后適用本授權(quán)書學(xué)位論文作者簽名韻粥丫簽字日期扣1＼年S月弓1日學(xué)位論文作者畢業(yè)去向工作單位通訊地址導(dǎo)師簽名簽字日期電話郵編ABSTRACTTODAY，PEOPLEHAVEAWIDERRANGEOFCHOICESFORENTERTAINMENT，ANDASARESULTOFIT，TRADITIONALOPERAFINDSITHARDTEMAINCURRENTBUTTVDRAMAOPERAASAMODEOFARTWHICHINTEGRATESTRADITIONALOPERA謝MMOVIEANDTELEVISIONHASOPENEDUPANEWWAYOFOPERACOMMUNICATIONANDDEVELOPMENTHUANGRNEIOPERAAFORMERLOCALOPERAHASBEENGAININGCONSIDERABLEPOPULARITYINCHINAINTHEPASTDECADES，F(xiàn)ORWHICHTVSERIESOFHUANGMEIOPERADESERVEMUCHOFTHECREDITTHEPLAYWRIGHTMRJINZHIISANHONORABLEPIONEERTOADAPTHUANGMEIOPERATOAMOVIEORATVPLAYTHEREFORE，STUDYINGTHEWORKSOFJINZHIHELPSUSEXPLORETHEWRITINGRULESOFTVDRAMAOPERADISCUSSHOWTOINTEGRATETHEOPERAWITHTVANDDEVELOPTHEARTISTICCREATIONFORMMOREIMPORTANTLY，ITPROVIDESPRACTICALSAMPLESANDEXPERIENCEFORTRADITIONALCHINESEOPERAINTHEPRESENTNEWMEDIAERABASEDONTHESTUDYOFJINZHI’SWORKS，THISTHESISEXPLORESHISSCRIPTWRITINGSKILLSANDARTISTICFEATURESINTVSERIESOFHUANGMEIOPERAANDTRIESTOSUMMARIZEITSREGULARPATTERNSSOASTOBRINGBETTERINHERITANCEANDINNOVMIONOFHUANGMEIOPERATHETHESISISDIVIDEDINTOFIVEPARTSTHEINTRODUCTIONISAGENERALACCOUNTOFTHERESEARCHPURPOSE，SIGNIFICANCEANDRESEARCHOVERVIEW，ANDSPECIFIESTHEIDEASANDMETHODSOFRESEARCHTHEOPENINGCHAPTERGIVESABRIEFINTRODUCTIONTOMRJINZHI’SLIFEANDHISWRITINGEXPERIENCES，ANDTHENLISTSHISTELESCRIPTSOFHUANGMEIOPERACHRONOLOGICALLYANDTAKESSOMEOFTHEMASEXAMPLESFORAPPRECIATIONTHESECONDCHAPTERFIRSTANALYZESSOMEOFTVPLAYSOFHUANGMEIOPERASCRIPTEDBYJINZHITHEIRSTRUCTURE，LANGUAGE，CHARACTERSANDLYRICS，ETCTOINQUIREINTOHISUNIQUESCRIPTWRITINGARTAFTERTHAT，ITCOMPARESHISWORKS、析MTHOSEOFOTHERHUANGMEIOPERAPLAYWRIGHTS，PRESENTINGAGAINTHEARTISTICFEATURESINVOLVEDINTHESCRIPTWRITINGOFHUANGRNEIOPERADRAMACHAPTERTHREE，AFTERANALYZINGTHEINFLUENCEOFHUANGMEITVDRAMAFOCUSESONJINZHI’SARTISTICACHIEVEMENTSINSCRIPTWRITINGOFHUANGMEITVDRAMAANDHISII

簡(jiǎn)介：山東師范大學(xué)碩士學(xué)位論文試論易卜生的戲劇創(chuàng)作及其藝術(shù)發(fā)展軌跡姓名鄒秀榮申請(qǐng)學(xué)位級(jí)別碩士專業(yè)比較文學(xué)與世界文學(xué)指導(dǎo)教師王化學(xué)2002428第三部分現(xiàn)代戲劇藝術(shù)的探索與開創(chuàng)者。一首先表現(xiàn)在悲劇精神方面，西方的傳統(tǒng)悲劇，悲劇發(fā)生后主人公才徹底覺醒。后，甚至可以說(shuō)，悲劇就是他們覺醒的結(jié)果。而易卜生的悲劇卻是發(fā)生在主人公覺醒之不僅如此，易卜生的悲劇可以說(shuō)是一種雙重的甚至三重的悲劇。這種多重的最終心死的悲劇，在悲劇史上是空前的。二因?yàn)槭怯X醒的悲劇，便必然包含“回首往事”的因素，從而形成了易卜生獨(dú)特的戲劇情節(jié)結(jié)構(gòu)藝術(shù)回溯。這種回溯式的戲劇結(jié)構(gòu)，從舞臺(tái)效果上講，其優(yōu)點(diǎn)自不待言，一是簡(jiǎn)練緊湊，二是戲劇性強(qiáng)。三于蕓蕓眾生中發(fā)現(xiàn)悲劇人物、塑造悲劇形象是易卜生對(duì)傳統(tǒng)悲劇的又一突破。傳統(tǒng)的悲劇人物，社會(huì)地位總比較高，而易卜生筆下的悲劇人物都是平凡的普通人。但是，易卜生寫出了他們精神上的偉岸與堅(jiān)強(qiáng)，創(chuàng)造出了一個(gè)豐富的人物體系四在易卜生的后期戲劇中，展現(xiàn)在我們面前的是靈魂的生命史。他以心理危機(jī)取代了事件危機(jī)，以心靈的世界取代了動(dòng)作的世界，以一種心態(tài)結(jié)構(gòu)揭示出人物心理動(dòng)機(jī)上的對(duì)立他所創(chuàng)造的與外在形態(tài)沖突相背離的心態(tài)結(jié)構(gòu)，以及個(gè)體戲劇情景，開創(chuàng)了現(xiàn)代心理劇之先河五在現(xiàn)代悲劇發(fā)展史上，易卜生是最早運(yùn)用現(xiàn)代散文寫作的劇作家之一，而且運(yùn)用得最成功六作為現(xiàn)代戲劇之父、現(xiàn)代藝術(shù)的探險(xiǎn)者，易卜生的突出貢獻(xiàn)更在于，在戲劇領(lǐng)域里他最早表現(xiàn)出了現(xiàn)代主義藝術(shù)傾向，而且早在法國(guó)象征派發(fā)表宣言之前，就在創(chuàng)作中廣泛地運(yùn)用了象征主義手法。另外，易卜生在歐洲文學(xué)史上，生，他的藝術(shù)視野，最早地開掘了“人生是荒謬這一主題，并運(yùn)用荒誕手法表現(xiàn)人大大地超越了自己的時(shí)代關(guān)鍵詞易卜生主義分類號(hào)11063精神反叛生存困境姍0抑C

簡(jiǎn)介：鬲』侖套予箍史碩士學(xué)位論文密級(jí)花兒劇藝術(shù)特征初探蘇金萍導(dǎo)師姓名職稱睦廛型童絲專業(yè)名稱盎墾堂研究方向莊亟速堡墨塾莖論文答辯日期Q生月學(xué)位授予日期Q生I旦答辯委員會(huì)主席評(píng)閱人二00七年五月ABSTRACTTHESTUDYTOPICCHOSENBYTHEFACTSOFTHECASE，HUAEROPERAISAPROFOUNDCULTURALFOUNDATIONANDTHEBASEOFTHEBROADMASSESOFLOCALMINORITYNEWOPERASTHEBACKGROUNDTOTHEDEVELOPMENTOFTHEMINORITYDRA嗽INLINXIA，GANSUPROVINCETOSTUDYSAMPLESHUAEROPERAACOMPREHENSIVESYSTEMTOSTUDYTHEFORMATIONANDDEVELOPMENTOFHISTORICALTRAJECTORYANDONTHISBASISANDMAKEFULLUSEOFMUSICTHEORYANDMETHODS，THEARTOFHUAEROPERAFEATURESADETAILED’SYSTEMANALYSISANDRESEARCHANOTHERMUSICALDRAMAISADRAMAOFTHEMOSTIMPORTANTDISTINGUISHINGFACTORTHESTUDYCONCLUDEDTHATTHEFACTSSHOWTHECONTINUATIONANDTRANSFORMATIONOFTRADITIONALMUSICONTHEBASISOFTHEFACTS，F(xiàn)ORMINGAUNIQUEVOCALSTYLESANDSINGINGSTYLESANDASATHEATEROFTHIS，THEFACTSOFTHEMATERIAL，DRAⅢ8，SONGLYRICSANDACHARACTERASKS，ANDAL1REFLECTTHEIROWNUNIQUECULTURALCHARACTERANDETHNICSTYLEHUAERPLAYSTHEDANCEISMOREINCLUSIVE，DRAWNFROMAWIDERAILGEOFETHNICDANCEELEMENTTOPLAYUPTHEATMOSPHERE，CREATINGSCENES，PROMOTETHEPLOTDEVELOPMENT，IMAGEBUILDINGTHISPAPERISSTRUCTUREDASFOLLOWSINTRODUCTIONTOSTUDYTHECAUSESOFSOMESIGNIFICANCEANDMETHODOLOGYANALYSISOFTHERESEARCHLITERATUREONTHEBASISTHATTHEBENEFITSTOTHESTUDYSECONDLYINDEFININGTHEFACTSOFTHEHUAEROPERA’BASEDOILADETAILEDINVESTIGATIONOFTHEIRHISTORICALEVOLUTIONANDPRACTICETHETHIRDPART，F(xiàn)ROMTHEMUSIC，DANCEANDOTHERTHREEASPECTSOFTHESCRIPTANDTHEFACTSSHOWTHECHARACTERISTICSOFTHEARTANALYSISANDRESEARCHKEYWORDSHUAEROPERAMINORITYCHARACTERISTICSOFDRAMADRAMATICARTNL

簡(jiǎn)介：婺劇藝術(shù)的民間審美特質(zhì)研究JINHUAFOLKDRAMAARTAESTHETICCHARACTERSRESEARCH作者AUTHOR普通碩士MASTER文藝學(xué)STUDYOFLITERATUREANDART浙江師范大學(xué)研究生院ZHEJIANGNORMALUNIVERSITY指導(dǎo)教師吳海慶DIRECTORWUHAIQING二0一三年五月九日MAY9，2013JINHUAFOLKDRAMAARTAESTHETICCHARACTEISTICSI之ESEARCHABSTRACTJINHUADRAMAFROMNATIVEUPCOVERINGSIXSPOKEDIFFERENTTYPESOFLOCALOPERAFROMCONCEPTIONTOTHEDEVELOPMENTTOMATURE，HASTHETHICKDEEPINTOTHEFOLKARTOFSOILATTHESANLETIME，BYVIRTUEOFUNIQUEGEOGRAPHICALANDCULTURALADVANTAGES，NOTONLYABSORBTHESURROUNDINGAROUNDTHEMOSTTYPICALMEANSOFFOLKARTFORMS，ANDEFFECTIVEANDCOMPLETETHERETAINEDINTHEHISTORYOFTHEMETEORITEDIEDEACHBIGSPOKEOPERAS，CONSOLIDATETHEIRFOLKOPERACULTURECONNOTATIONOFARTTHISPAPERRESEARCHONJINHUAFOLKDRAMAARTAESTHETICCHARACTERISTICS，DISCUSSESMAINLYDIVIDEDINTOTWOCHAPTERSTHEFIRSTCHAPTERISDIVIDEDINTOTWOPARTSTHEFIRSTPART，F(xiàn)IRSTOFALL，ITISINJINHUAPLAYSTHEREGIONALADVANTAGEOFTHESOURCE，F(xiàn)ORMATION，ANDACCORDINGLYDISCUSSESTHEFORMATIONOFFOLKCULTUREBASIS；SECOND，THEDEVELOPMENTOFJINHUADRAMAGIVESCORRESPONDINGPROPOSITIONS，COMBFORMCLASSSOCIALHISTORICALSITUATION，ANDSITUATIONANALYSISANDEXPOUNDSONTHEDEVELOPMENTOFJINHUADRAMAPERSONALOPINION；THESECONDPART，F(xiàn)ROMJINHUACOMMENTARYWUJUSPOKEOFDRAMAPLAYSHISTORYPOSITIONTHESECONDCHAPTERISTHECOREPARTOFTHISPAPERMAINLYINTHREEASPECTSOFJINHUADRAMADETAILEDDISCUSSIONONTHEAESTHETICCHARACTERISTICSOFFOLKTHEFIRSTPART，F(xiàn)ROMPERFORMANCEPROGRAM，RESPECTIVELYDISCUSSESTHEANCIENTSEXOFJINHUADRAMAMASKIEFROMJINHUADRAMASHELLOFTHESOURCEOFDEVELOPMENT，ITISAMYSTERIOUSSORCERYFORMOFDERIVATIONCHARACTERIZATION，BECAUSETHISKINDOFCHARACTERIZATIONISDIFFICULTTODEPICTTHECHARACTERSEMOTIONS，SOHADANOPERATYPESOFFACIALMAKEUPINOPERASLATERWITHOTHERTYPESOFOPERATYPESOFFACIALMAKEUPINOPERAS，BYCONTRAST，JINHUAHASRETAINEDALARGENUMBEROFTRADITIONALFOLKDRAMAOPERATYPESOFFACIALMAKEUPINOPERASIMPLIEDMEANINGOFTHESYMBOLTYPEDESIGN，THUSEFFECTIVELYUNDERTAKEITSANCIENTMEANING，ANDJINHUADRAMAINTHEPRECIPITATIONOFFOLKART，THEPURPOSEISTOJINHUADRAMAOFTHECORRESPONDINGFINISHINGANDEXPLOREFOLKARTFEATURES；ILLUSTRATEJINHUADRAMAPROFOUNDART，ONTHEOTHERHAND，VALUESYSTEM，THISSYSTEMMAINLYDISPLAYS，INFIRST，ITABSORBSANDINTEGRATESA

簡(jiǎn)介：西北大學(xué)碩士學(xué)位論文西安電視劇藝術(shù)中心發(fā)展歷史與現(xiàn)狀研究姓名金鑫申請(qǐng)學(xué)位級(jí)別碩士專業(yè)電影學(xué)指導(dǎo)教師張阿利延藝云20080602111EHISTO巧觚DCU腳≥NTDEVELOPMENTOFXI’鋤TVDR鋤AARTCENTERABSL瑚LCTSINCC1958，TL艙DOMESTICTELEVISI∞D(zhuǎn)珊嗽H弱BE吼O∞OFTLLEES∞NTIALWAYS0FTHEST瞄TILMLEI馴IRE也ROLUGLITLLEDEVELOPINENTFOR50YEARS，觚DW弱掣刪LY蕾ECOGN砌鋤DAC，C印TABLEBYTL圮PUBLIC1KTVD珊嗽舯DDU曲∞H勰BECOMCA咖NGIND璐時(shí)INCHI馓TV砥蛔TRI璐A6A刪哪ICIPALORG弛婦ION，I’觚TVDL蝴AFTC咖CONSISTENGTLYPL剃CEOWNARTPRI|∞IPLE，鋤DB‘；CID眥SAB∞KBONEOFTVD舳A胛加CTIONINMEWESTOFCHI眠啦S嗍塒TAL嗡【I’趾TV蛔ANCEL舸E鼬LISHEDIN1990弱MC麟蟹ARCH0BJECT，STUDI髓THEBACK掣OM記OFDEVELOPMENTP嚼I土LIANDOUTST觚DINGACHIEVEM哪ACCORMNGTOITSHIST0巧姐DARTCFE砒ION破也EB∞K舯吼DOFDEVELOLMLENTOFCHIILE∞TVDR瞰吼ATTL塢鼢ME血∞，IT誦UPROVIDESOMEFE觴IBLE鰳GGESTIO璐ILIORD【EL。協(xié)B朗【EFIT儀NTER’SDEVELOPM饑TTBISIS也E蠡RST劬ET0STUDYSLRSTEMATICALLYXI’觚T、廠D蚴ANCENTER勰ACA∞，∞IT艫渤TS也E砌嘴OF面GILLAL時(shí)趾DILL枷刪ONIN讓屺SEN∞OF孤柵枷CTH覷FY觚DAPPLICALTION弱PECTTHISPIP盱F曲U辯SONTHEHI咖巧鶴WELLASI_TSINNOVALION觚DDEVELOLM鹼N‘ADL0】PTSTHEMETHORDSOFHIST商CAL強(qiáng)ALYSIS、ES湖CIAL觚ALYSIS、COMP乏IRA五VEANALYSIS、CC伽唧NIC鋤IALYSIS勰WEU撼CL懿SIFICALION、刪ICAL陀S∞RC也DEVID懿ITSHIST0巧INTOD鋤ALTARYSTAGE、EXPLO栩10L巧STAGE、PROSP呻STAGEANDM刪哆STAGE，觚D刪ESE∞HSTAGEIN也E伏矧財(cái)’SM烈埝GEMENT、ARTCREALION弛DINDLLSTRIAL0L蒯ONTHE丘RSTCB【APTERMAINLYDISC吣∞S廿LECENTER’SCB瞰ACTIER、M鋤AG鋤ENTANDREFB吼THE∞CONDDL咖妣螂ON伯E詫矧IL他鋤DS哆LEIII髓CHSTAGE，M越ILLYDESCRID船THEI玎1PO】嗽MTWORI【S鋤DACHIE、，EMENTTHEⅡLJ媳D塌P幢CRCEN搬SONTLLEIILDLLSL曬ALOPT棚?，斨篈LY∞T11ESTAGE觚DLIILKOFTL圮WHOLETVD姍APRODU嘶∞INDLLS缸Y1KFOURTHCHAPTERAIMST0POINTOUTTHEWAYOFFILTLL他DEVELOPINIENT，WHICHISNLEM礎(chǔ)I盯’SAIM觚DHOPETOBENEFIT劬ERTV蛔?？錗IZATI∞XEYWOS【I’弛TV如瑚AANCEN舊；TVDRAMA；DEVELOPMENT；ARTISTICC心ATION；I11111JSTRIALOPI嘲IONⅡ

簡(jiǎn)介：蘇州大學(xué)碩士學(xué)位論文論蘇州戲劇服裝中的蘇繡藝術(shù)姓名毛正申請(qǐng)學(xué)位級(jí)別碩士專業(yè)設(shè)計(jì)藝術(shù)學(xué)指導(dǎo)教師廖軍20080301ABOUTTHEARTOFSUEMBROIDERYINTHEMAKINGOFSUZHOUDRAMACOSTUMEABSTRACTABOUTTHEARTOFSUEMBROIDERYINTHEMAKINGOFSUZHOUDRAMACOSTUMEABSTRACTTHISARTICLESTARTSWITHTHEHISTORYOFSUZHOUDRAMACOSTUMEANDSUEMBROIDERYANDITALSODISCUSSEDTHECLOSERELATIONSHIPBETWEENSUZHOUCOSTUMEANDSUEMBROIDERYIILALLRESPECTSSUEMBROIDERYPLAYSANIMPORTANTROLEINTHEMAKINGOFSUZHOUCOSTUMEBECAUSEOFITSEXQUISITETECHNIQUESANDELEGANTFEATURES，WHICHCALLFULLYEXPRESSCHARACTERSANDAMBIANCEOFSUZHOUDRAMAWITHTHECHANGEOFTIME，THEINDUSTRYOFCOSTUMEMAKINGINSUZHOUFACESTHESOMEPROBLEMS，SUCHASAGINGOFEXPERIENCEDCRAFTSMENINTHISFIELDANDLEAVINGNOGENERATIONTOCARRYONTHISCRAFTTHEREISACRISISINTHECONTINUATIONANDEVOLUTIONOFMAKINGOFSUZHOUDRAMACOSTUMESOMESUGGESTIONSAREPROPOSEDINTHISARTICLEONTHEBASISOFINVESTIGATIONINTHISFIELD；MEANWHILE，THEDEMANDOFOURSOCIETYANDTHEEXPERIENCEACQUIREDINTHECONTINUATIONANDEVOLUTIONOFOTHERTRADITIONALCRAFTSARETAKENINTOCONSIDERATIONKEYWORDSSUZHOUDRAMACOSTUMESUEMBROIDERYINHERITDEVELOPMENTIIWRITTENBYMAOZHENGSUPERVISEDBYLIAOJUN

簡(jiǎn)介：中國(guó)美術(shù)學(xué)院學(xué)位論文原創(chuàng)性聲明本人鄭重聲明所提交的學(xué)位論文是本人在導(dǎo)師的指導(dǎo)下，獨(dú)立進(jìn)行研究工作所取得的研究成果。除文中已經(jīng)加以標(biāo)注引用的內(nèi)容外，本論文不包含其他個(gè)人或集體已經(jīng)發(fā)表或撰寫過的研究成果，也不含為獲得中國(guó)美術(shù)學(xué)院或其它教育機(jī)構(gòu)的學(xué)位證書而使用過的材料。對(duì)本文的研究作出重要貢獻(xiàn)的個(gè)人和集體，均已在文中以明確方式標(biāo)明。本人承擔(dān)本聲明的法律責(zé)任。作者簽名日期砂‘璋‘月』，日學(xué)位論文版權(quán)使用授權(quán)書本學(xué)位論文作者完全了解學(xué)校有關(guān)保留、使用學(xué)位論文的規(guī)定，同意學(xué)校保留并向國(guó)家有關(guān)部門或機(jī)構(gòu)送交論文的復(fù)印件和電子版，允許論文被查閱和借閱。本人授權(quán)中國(guó)美術(shù)學(xué)院可以將本學(xué)位論文的全部或部分內(nèi)容編入有關(guān)數(shù)據(jù)庫(kù)進(jìn)行檢索，可以采用影印、縮印或掃描等復(fù)制手段保存和匯編本學(xué)位論文。本學(xué)位論文屬于1、保密口，在年解密后適用本授權(quán)書。2、不保密O請(qǐng)?jiān)谝陨舷鄳?yīng)方框內(nèi)打“4”作者簽名導(dǎo)師簽名二歹弛日期抄峰舌月’日日期7田1年扛月廠日11望耋塵些竺E苧查堂些竺，E空削藝術(shù)系車想前U藝術(shù)進(jìn)八公兆空川的戲劇性沖突與價(jià)值修止目錄摘要1SUMMARY2引言3第一章充滿雄心壯志的前衛(wèi)藝術(shù)1第一節(jié)前衛(wèi)藝術(shù)的概念、特點(diǎn)與內(nèi)涵1第二節(jié)前衛(wèi)藝術(shù)的誕生背景與發(fā)展過程2第三節(jié)前衛(wèi)藝術(shù)的主要形態(tài)3第四節(jié)前衛(wèi)藝術(shù)進(jìn)入公共空間的方式4第二章進(jìn)入公共空間產(chǎn)生戲劇性沖突6第一節(jié)私人性與公共性的雙重修正6第二節(jié)商業(yè)化對(duì)前衛(wèi)藝術(shù)的消解6第三節(jié)充滿政治困境的前衛(wèi)藝術(shù)7第四節(jié)公眾對(duì)前衛(wèi)藝術(shù)的認(rèn)識(shí)與理解8第三章公共空間中前衛(wèi)藝術(shù)的價(jià)值修正9第一節(jié)前衛(wèi)藝術(shù)必須直面公共性9第二節(jié)豐體自由需要遵守公共空間的限定性9第三節(jié)在接納的前提下建立新的重構(gòu)方法LL結(jié)語(yǔ)L3致謝14主要參考文獻(xiàn)L5

簡(jiǎn)介：東北師范大學(xué)碩士學(xué)位論文荒誕派戲劇的藝術(shù)突破和悲劇精神姓名于萌申請(qǐng)學(xué)位級(jí)別碩士專業(yè)比較文學(xué)與世界文學(xué)指導(dǎo)教師趙沛林20070501ABSTRACTMODERNWESTERNPHILOSOPHERSHELPEDTHEPEOPLETOBREAKTHEOPTIMISTICDREAMSOLEMNTRAGEDIESASLOCHANGEDWITHTHEDEVELOPMENTOFTHETIMES，ABSURDISMGRADUALLYFILLEDTHEARENATHEATEROFTHEABSURDDESCRIBEDTHETRUESTATEOFAPERSONASATRAGEDYTHEREBYGUIDINGTHEAUDIENCETOGETREEVALUATIONOFTRADITIONALVALUESTHEATEROFTHEABSURDHASAMAJORBREAKTHROUGHINTHEFORMOFTRADITIONALDRAMA，ANDTHEN，THEATEROFTHEABSURD’SPOSITIVESIGNIFICANCEBEHINDDOOMANDGLOOMDESERVESTHESAMEATTENTIONITCONTAINSAKINDOFCUREENERGYINTHECONTEXTOFTHETRAGEDYITADVOCATESAKINDOFSPIRITOFTRAGEDY，WHICHISLINKEDTOTHEANCIENTGREEKTRAGEDYAWAREDTHATLIFEWITHSUFFERINGANDSTILLHAVETHESPIRITOFTHECOURAGEANDTHESTRENGTHTOFINDANEWVALUEINLIFETHECONTENTOFTHEFIRSTCHAPTERTHEATEROFTHEABSURDHASABREAKTHROUGHOFTRADITIONALDRAMAONTHETHEATEROFTHEABSURD，ITCAN’TBYPASSINGTHEFORMBREAKTHROUGHOFTRADITIONALPERFORMANCECONTENTISALSONECESSARYTOBESUSTAINEDBYTHEFORMBUTJUSTDESCRIPTIONOFTHESPECIFICFORMWHICHEVERYONECANSEEWILLNOTBEVERYMEANINGFULDESCRIBINGTHECHARACTERISTICSOFTHEFORMISTHEKEYTOTHEINFILTRATIONANALYSISWHYSHOULDSUCHANABSURDANDANTITRADITIONALFORMOFACARRIERPOSITIVESIGNIFICANCEBECAUSEABSURDLOGICOFTHECONCEPTITSELFISNOTIRRATIONAL，RATIONALBREAKTHROUGHINTHENONLOGICALWAYTOEXPRESSTHISCONCEPTISTHEAPPROPRIATEWAYTHESECONDCHAPTERISDESCRIBEDTHEATEROFTHEABSURDWITHTHESAMESPIRITOFTHEANCIENTTRAGEDYTHISSPIRITOFTHETRAGEDYLEDTOPAVETHEWAYOFTHEATEROFTHEABSURDTHEATEROFTHEABSURDCONTAINSANCIENTGREEKPRIMITIVERELIGIOUSRITUAL；ANCIENTGREEKDRAMAANDTHEATEROFTHEABSURDHAVEASIMILARARTTHEORYTHEATEROFTHEABSURDUSEDANABSURDFORMCARRIESTHECONNOTATIONOFTHESPIRITOFTHETRAGEDYINTHEPRESENTAGE，SENSUALPLEASURESINSTIGATEPEOPLENOULTIMATEGOALLEADTONOSOULGUIDES，THENONESTRAYDRIFTALONELOSTBUSINESSTHEATEROFTHEABSURDINVIRTUALSETTINGSALLOWPEOPLETOOBTAINCALMANDPEACEFULFEELINGSLIKETHEANCIENTGREEKTRAGEDYWILLPLAYTHEROLEOFPHYSICIANSPURIFICATIONTHESPIRITOFTHETHEATEROFTHEABSURDANDTHEANCIENTGREEKTRAGEDYISLINKEDITDIDNOTDIRECTLYCONSIDERTHEMANKINDASANCIENTGREEKTRAGEDYDID，BUTSHIFTEDTOTHEINDIVIDUALCONCERNED，BECAUSEINDIVIDUALISREALLYRICHANDTRUEEXISTENCEHOWEVERINDIVIDUALATTENTIONORCAREFORTHEPURPOSEOFHUMANITY

簡(jiǎn)介：福建師范大學(xué)碩士學(xué)位論文論威爾第歌劇奧瑟羅的藝術(shù)特征從戲劇到歌劇的嬗變探微姓名邱桂香申請(qǐng)學(xué)位級(jí)別碩士專業(yè)音樂學(xué)指導(dǎo)教師葉松榮200341ABSTRACT硼∽VJRDI’SOPERA一“OTELLO”WHICHISCOMPAREDANDDISCUSSEDWITHTHEORIGINALOREFROMTHEPOINTOFSOCIALHISTORYPSYCHOLOGY，AESTHETICSANDCOMPARATIVECULTUREAIMSATEXPLORING訊囂ARTCHARACTERISTICSOF“0TELLO”ANDLOOKINGINTOTHEOVERALLESSENCEDEEPLYTHEPAPERISCOMPOSEDOFTHREEMAINPARTS?！癙ARTOFDRAMA’FOCUSESONANALYZINGCONTENTSANDARTISTICFEATURESOFSHAKESPERESDRARFLA“OTHELLO”“P_A成OFOPERA’AIMSATILLUMINATINGCONTENTSANDARTISTICFEATURESOFVERDI’SOPERAJ‘OTELLO”；“PARTOFCOMPARISION’ISTHEKEYPARTOFTHEESSAY隱EAUTHORTRIESTOEXPLOREDIFFERENCESANDCAUSESBYCOMPARING瓷磚I’SOPERAWITHTHEORIGINAL托THE秘I玨TOARTISTICFEATURESANDCONTENTSINAUTHOR’SOPINION，TOOTHERLITERATUREDRAMASTHEOPERAHASANINCOMPARATIVEADVANTAGEOFMUSIE素8磁鑫。TTGREATLYDIFFERSFROMTHEORIGINALINTHECHARACTERSPORTRAYING，DRAMASTRUCTURE，CONFLICTANDREALITYMEANWHILEITFORNLSDISTINCTIVEAESTHETICSSTYLEANDARTISTICCONTENTSWHICHPRESENTSNOTSHAKESPERE’SSOLEMLLANDPAEANTRAGEDYBUTELEGIACANDMOURNFULTRAGEDY，THEOPERAILLUSTRATESWIDERANDMOREPERMANENTTHEMETHANTHEORIGINALITREFLECTSOLDVERDI’8THOUGHTSANDOTHERITALIANS’SORROWFULIDEASTOTHESOCIETYINTHEENDOF19THCENTURY巍EDIFFERENEESRESULTINTHEFACTORSOFLITERATURE留耩喀。SOCIETYAND涮INMSEL￡INAWORD，ONTHEBASEOFBASICORIGINALTHEMEANDSTRUCTUREFRAME，THEOPERAISDEVISEDCREATIVELYANDEXAGGERATESTHEARTISTICFEATURESANDCONTENTS、SHOWING、毽逶I，STALENTSANDLIFEEXPERIENCES。KEYWORDS‘‘OTELLO”；ARTISTICFEATURES；CONTENTS；

簡(jiǎn)介：中圖分類號(hào)_G243UDC700訂業(yè)二解■刪G二●印密級(jí)坌汪學(xué)校代碼10094碩士學(xué)位論文同等學(xué)力從歌劇蒼原看幺紅的歌劇藝術(shù)特點(diǎn)THEARTFEATURESOFYAOHONG’SOPERAFROMCANGYUAN作者姓名劉東立指導(dǎo)教師王磊教授學(xué)科專業(yè)名稱音樂學(xué)研究方向聲樂演唱與教學(xué)研究論文開題日期2010年11月4日H事尤乒已’T●學(xué)位論文原創(chuàng)性說(shuō)明本人所提交的學(xué)位論文從歌劇蒼原看幺紅的歌劇藝術(shù)特點(diǎn)是在導(dǎo)師的指導(dǎo)下，獨(dú)立進(jìn)行研究工作所得的原創(chuàng)性成果。除文中已經(jīng)注明引用的內(nèi)容外，本論文不包含任何其他人或集體已經(jīng)發(fā)表或撰寫過的研究成果。對(duì)本文的研究做出重要貢獻(xiàn)的個(gè)人和集體，均已在文中標(biāo)明。本聲明的法律后果由本人承擔(dān)。論文作者簽名2011年9月18日指導(dǎo)教師確認(rèn)簽名學(xué)位論文版權(quán)使用授權(quán)書2011年9月18日本學(xué)位論文作者完全了解河北師范大學(xué)有權(quán)保留并向國(guó)家有關(guān)部門或機(jī)構(gòu)送交學(xué)位論文的復(fù)印件和磁盤，允許論文被查閱或借閱。本人授權(quán)河北師范大學(xué)可以將學(xué)位論文的全部或部分內(nèi)容編入有關(guān)數(shù)據(jù)庫(kù)進(jìn)行檢索，可以采用影印、縮印或其他復(fù)制手段保存、匯編學(xué)位論文。保密的學(xué)位論文在年解密后適用本授權(quán)書J論文作者簽名勺竹幻2011年9月18日指導(dǎo)教師簽名孑磊2011年9月18日11

簡(jiǎn)介：西北大學(xué)碩士學(xué)位論文東北農(nóng)村題材電視劇藝術(shù)特色研究姓名孔靜申請(qǐng)學(xué)位級(jí)別碩士專業(yè)電影學(xué)指導(dǎo)教師張阿利延藝云20090401ENGLISHABSTRACTWITHTHEARRIVALOFTHENEWCENTURY，MOREANDMORENORTHEASTRURALFIREDRAMAINTHEAUDIENCEBYTHENATIONALEXPERTSPRAISEANDACCLAIM，THENORTHEASTRURALDRAMAINTHEORYMOREANDMOREAAENTIONTOSTUDYTHESUBJECTOFRURALNORTHEASTTHISDRAMATHEORYHASALSOBEENTHESUBJECTOFAREMIONFROMALLWALKSOFLIFEIFOUNDTHATTHERURALNORTHEASTTHEORETICALRESEARCHTHEMESTVSYSTEMITSELFISALSONOTCOMPLETETHEREFORE，THISARTICLESUBJECTTOCONFIRMATIONINRURALNORTHEASTOFTHEARTISTICFEATURESOFDRAMATOFILLTTLENORTHEASTRURALTHEMESTHEORETICALSTUDYOFTHEARTISTICFEATURESOFDRAMABLANKINTHISPAPER，THEMAINPOIILTISACLEARNORTHEASTOFTHECONCEPTOFDRAMAINRURALSUBJECTS，ANALYSISOFSUBJECTSINRURALNORTHEASTOFTHEARTISTICFEATURESOFTHEPERFORMANCEOFDRAMA，DRAMAFROMTHENORTHEASTOFTHEDIFFERENTSUBJECTSINRURALAREASOFARTISTICEXPRESSIONTOFMDOUTWHYTHESUBJECTOFRURALNORTHEASTBYTHEPOPULARTVSERIESOFREASONSSUBJECTMATTERSOTHATTHERURALNORTHEASTDRAMASYSTEMATICTHEORYOFTHEARTISTICFEATURESOFTHETHEORYTOBERESOLVEDTHERURALAREASINTHENORTHEASTOFTHECONCEPTOFTVSERIESTHEMEISSUE，ALTHOUGHTHEREAREMANYPROFESSIONALSWHOPUTFORTHSOMEVIEWS，BUTIBELIEVETHATTHEREISNODRAMATOTHENORTHEASTOFTHECONCEPTOFRURALSUBJECTSSUFFICIENTLYCLEAR，ANDTHISARTICLEWILLFIRSTCLEARTHENORTHEASTOFTHERURALSUBJECTSDRAMACONCEPTINTHISPAPER，CUSTOMS，LANDANDLOVE，ERRENZHUANSUCHASCUSTOMSOFTHEVARIOUSASPECTSOFHUMANGEOGRAPHYTESTARTWITHAGENERALNORTHEASTOFTHECONCEPTOFDRAMAINRURALSUBJECTSINRESEARCHMETHODS，TOBESUMMEDUPASTHEMAINMETHODOFSUMMINGUPININDUCTIVEINFERENCETODRAWCONCLUSIONS，ANDULTIMATELYPROVETHATTHEREASONWHYTHENORTHEASTRURALTHEMESTVAUDIENCEWITHSUCHAWIDERANGEOFGROUPSANDEXPERTSANDSCHOLARSARELOVED，THEFUNDAMENTALREASONFORTHISISTHATTHERURALNORTHEASTHASTHETHEMEOFTHEDRAMAITSELFTHEARTOFUNIQUECHARACTERISTICSKEYWORDSNORTHEAST，THERURALTHEME，DRAMA，ARTCHARACTERISTICSⅡ