- 更多网络例句与小人物相关的网络例句 [注：此内容来源于网络，仅供参考]
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Gogol, Dostoyevsky and Chekhov are the masters of describing "small potatos" Russian literature in 19th century. They constitute the triangular prism of the gloomy life of "small potatos" by their special perspectives.
果戈理、陀思妥耶夫斯基和契诃夫是19世纪俄罗斯文学中描写"小人物"的圣手；他们以独特的视角和创作，构成了"小人物"灰色人生的三棱镜。
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The indignant theorist casts aspersions on their methods, inserts a non sequitur regarding its effects and explains how this is frightfully unfair for the "little guy".
义愤填膺的理论家对这些方式大肆抨击，就其效果给出不合逻辑的推论，并指出这对"小人物"是多么地不公平。
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The indignant theorist casts aspersions on their methods, inserts a non sequitur regarding its effects and explains how this is frightfully un**ir for the "little guy".
义愤填膺的理论家对这些方式大肆抨击，就其效果给出不合逻辑的推论，并指出这对"小人物"是多么地不公平。
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The picture that emerges is of a far more subtle and prescient thinker than the man America's General Joseph Stilwell used to refer to as "peanut", and Britain's chief of staff, Field-Marshal Lord Alanbrooke, dismissed in Cairo as "a cross between a pine marten and a ferret".
蒋介石曾被美国的约瑟夫史迪威将军曾经形容为"小人物"，在开罗更是被英军参谋总长、陆军元帅阿兰布鲁克勋爵贬低为"松貂和雪貂的杂交产物"，然而本书作者描绘出来的却是一个远比这两个人印象中的蒋氏更加敏锐、更有先见之明的思想者。
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First, they focus on the plain life of common people; second, they aim at reflecting the feelings and lives of some "small figures"---the humble people living in the understratum of the society, true, unvarnished, though not elegant and lofty.
在他们身上，几乎没有缺点。"新写实小说"则不然，首先在题材上，关注人们的日常生活，琐碎、平凡，带有"原生态"的特色。底层百姓的饮食起居、喜怒哀乐，都成为描写对象，它消解了崇高意义，使文学从天上走向人间。在人物塑造上，"新写实小说"重在刻画"小人物"，甚至是卑微低贱的底层人物，写他们的感情，不论是否高尚，但却是最真实、最质朴的人生体验。
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If combining with the macrocosmic methods, maybe we can have some comprehensive and objective knowledge of the American higher education.
另外，本研究中涉及到的一些名不见经传的&小人物&，或许能对教育史研究中的注重著名的教育家和大学校长的思想和实践而忽视普通人员的作用这种倾向有所弥补。
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It mainly expounds the opportunities of the introduction of the Dickens\' works, and the different stages of the propagation and acceptance of his works in modern China. There are four stages included: 1 1907-1919, Lin Shu\'s viewpoint on Dickens; 2 1920-1929, Dickens as a portraitist of the social reality; 3 1930-1939, Dickens as a spokesman of nonentities; 4 1940-1949, Dickens as an advocator of humanistic emotion.
主要论述了狄更斯作品传入中国的机缘以及狄更斯在近代中国传播与接受的几个阶段，包括四个方面的内容：1.1907—1919年，文学因缘：林纾眼中的狄更斯；2.1920—1929年，社会物状的描摹者；3.1930—1939年，&小人物&的代言者；4.1940—1949年，人道情感的提倡者。
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This "importation" of the individual consciousness of the creator must however remain controlled. This is of the utmost importance, without constraints or measures we would fall either into the aesthetics of popular taste or into an escalation of elitist vocabulary that would weaken the language. If I myself no longer dare to use oil paints, to revisit or augment, it is due to its intrinsic overabundance of culture; having barely touched the palate, there is an immediate return to the domain of noble art. I would be too scared of creating some useless work while loosing the intensity afforded to a more direct language. Fluctuations in our cultural structure have resulted in vernacular embodying the new norm while I, in the domain of artistic language, have opted for the mode and techniques of traditional embroidery. A long while ago, during the time of the Yuan Ming Yuan artist village, I was convinced that I would run into problems if I applied myself to oil paint. I had produced next to nothing up until the day when, by coincidence, I noticed the many works of embroidery being sold at the entrance to the Summer Palace. I felt like I had finally found my mode of expression, my own personal artistic language. Due to the fact that embroidery belongs to the pre-industrial age, there is a "folkie" quality to it, rural and natural. This ill-defined modern world in which we live must also respond to the demands of "common people", the "lowly" and the "nouveau riche". In some sense, the re-appropriation of this folkloric technique was a necessity, much as it was during the time of the shift from "prose to spoken language" [1], an unavoidable consequence of social upheaval. It was not limited to a mere question of the stylistic signification of the semantic form. What embroidery embodies is a structural modification of society at its most basic level.
虽然它注入了艺术家的个人意识，但关键就是分寸感的把握，不然，或者伦为真的大众趣味，或者切入过多的经英语词汇，而使语言虚弱，就我而言，我不敢重操油画，或是改造扩充，就是由于它本身太文化了，一出手就高雅了，怕弄个不伦不类而失掉语言直接性的强度，文化结构的改变，艺术的俗语是一种趋势，从艺术语言上，我是用传统刺绣方式和手法的，早在圆明园画家村时，我几乎没有画出什么东西，油画肯定觉得使用起来有问题，在当时偶然在颐和园门前，看到很多刺绣的艺术品，一下子感到找到了方法，因为刺绣这种手段属于工业文明之前的东西，它有种土色和平民的感觉，这种也对应了时下的&平常人&、&小人物&、&暴发户&对现代化的消费趣味的追求，那种不伦不类的现代性，正好我的家乡唐山有一个很有名的刺绣厂，找师傅做作品可能更方便，有了这个想法之后，也得到朋友的鼓励，刺绣这一传统民间资源的再利用，在某种意义上说就像&白话文&始于当时社会巨大的转型出现的必然，它不单单是语言风格样式上的意义，它体现的是深层的社会文化结构改变的宣示。
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The story asserts that: the Depression was a phenomenon brought on by the excesses of business, the greed of corporations and the individuals that controlled them, and unsavory practices in the financial industry; the inability of the little or "forgotten man" to deal with the cataclysmic events that overwhelmed him was total; therefore, the need for a counterweight was compelling and that role was naturally assigned to the US Government; in fulfilling that role, the imaginative and heroic programs instituted by the New Deal — which reversed the disastrous policies of Herbert Hoover — conquered the Depression and turned the economy around; and finally, its proven success legitimized the paradigm of the modern welfare state in which the government — through taxation, regulation, borrowing and spending, and jawboning — serves as a powerful check on the excesses of big business and helps to ensure the prosperity of the country, but in a much more fair and equitable fashion than an unrestricted free market could deliver.
这个的故事声称：经济大萧条是一种特殊的状况，是经营的过剩、是企业及其主管的利欲熏心，是金融行业里可恶的运营方式造成的。这灾难性的大事件，完全把书中那位&小人物&----一位&被遗忘的人&压垮了，对此他只能束手无策。于是，社会急需一种强制性的平衡力量，而把这种责任交给美国政府当然是情理之中的事。为了发挥这项作用，新政开始实施，为此设立了一些超乎人们想象的，英雄式的工程项目，新政扭转了赫伯特·胡佛制定的灾难性的政策，控制了大萧条，并挽救了衰退的经济。最终，新政的成功，使得现代化的福利国家模式得到确立，政府可以借助税收，管制，发债，开支，赊买的手段，对大企业过度经营进行其强有力的审查，政府要确保国家繁荣富强，然而，不是通过放任自由的市场经济模式，而是依靠所谓的一种更公平，更平等的模式。
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Get away from me, pip-squeak.
给我闪开，小人物
- 更多网络解释与小人物相关的网络解释 [注：此内容来源于网络，仅供参考]
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Jack-a-Lent：小玩偶/小人物
Jabalpur /贾巴尔普尔/ | Jack-a-Lent /小玩偶/小人物/ | Jackson /杰克森/杰克逊/
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Javert's Arrival/Little People：夏维尔现身/小人物
04 Back at the Barricade 在临时基地 | 05 Javert's Arrival/Little People 夏维尔现身/小人物 | 06 A Little Fall of Rain 小雨
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peanuts：小人物
59.Panama Canal 巴拿马运河 | 60.Peanuts 小人物 | 61.Sino-US 中美之间的
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small potato：是"小人物",而不是一种"小土豆
Writing brush是"毛笔",而不是一种"刷子". | Small potato是"小人物",而不是一种"小土豆". | Big potato是"大人物",而不是一种"大土豆".
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small potato：是"小人物",而不是"小土豆
55.writing brush是"毛笔",而不是"刷子". | 56.small potato是"小人物",而不是"小土豆". | 57.big potato是"天人物",而不是"大土豆".
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Skipping Stone：小人物
07 注意目标 Eyes On The Prize | 09 小人物 Skipping Stone | 10 巴士之旅 Bus Ride
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small potatoes：小人物
small letter 小写字母 | small potatoes 小人物 | small talk 闲聊
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small-fry：小人物
in an awful fry 极其激动 | small fry 小人物 | We should fry in this hot sun.在酷热的阳光下我们会被灼伤的.
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whiffet：无用的人,小人物
cadet军官学校学生,实习生 | whiffet 无用的人,小人物 | midget 侏儒,极小的人
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whipster：小人物
whipsaw 粗木锯 | whipster 小人物 | whipstitch 锁缝