- 更多网络例句与形式上相关的网络例句 [注：此内容来源于网络，仅供参考]
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The chapter describes the state owned commercial bank current situation, the key issues faced, pointing out the shortage of property right system, management system, organization system, badness assets and capital abundance ratio, etc., drawing the conclusion that the stock systematic reform is the outlet of state owned commercial bank reform.
在股份制具体形式的选择上，通过对两类股份制公司形式的比较，论证股份有限公司制是国有商业银行股份制改革的最佳模式，并认为在组织形式上应由总分行制改为集团公司制；在产权结构上，探讨了只有建立现代商业银行制度，才能真正实现国有商业银行的产权清晰、权责明确、政企分开、管理科学；在公司治理模式上，强调建立真正的法人治理结构，较为详细地介绍了国有商业银行的股东大会、董事会、监事会等组织结构框架及作用；最后探讨了国有商业银行股份制改革需要注意的几个问题及风险防范。
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That is to say, we could draw a conclusion through the comparison of different editions of drum words of Two Degrees Plum in Qing Dynasty Republic of China with the form, content and thought of novel, and the comparison of the form, content and thought with different editions of drum words. Our conclusion is that different type of edition of the drum words in latter Qing Dynasty times, which basically followed the traditional modes of past drum words from the formality, but the ideological content could directly reflect the vicissitudes of society and idea at that time with the times changed. The different types of texts of drum words had directly reflected the traditional entertainment involving talking and singing entertainer's thoughts (they represented the first floor people's thoughts at that time), and also had directly reflected the common and popular writers'thoughts from their adaptions(they represented at that time one kind of residential social stratum thought which increased sharply along with city expanded and resident social stratum population produced, and this thought also referred to one kind of thought after the chromolithography had entered into China in latter Qing dynasty, cultural printing propagation velocity sped up and drum words gradually became the ordinary resident's table-top reading material).This kind of thought produced along with the social vicissitudes, also impelled the entire society's forward development and the progress from the science and technology and the cultural domain.
本文即是对《二度梅》小说故事被改编为鼓词的文本进行研究的一篇论文，即通过对现存的清代民国《二度梅》鼓词的不同类型的版本与小说形式、内容、思想之间的比较，鼓词与鼓词不同类型版本之间的形式、内容、思想之间的比较，来阐述出一个结论，就是晚清时期的不同类型的鼓词版本，从形式上基本仍然沿袭了过去鼓词的传统模式，但内容思想上则随着时代变化而能够更直接地反映着当时的社会思想变迁，鼓词不同类型的版本文本直接反映了说唱艺人的思想(他们代表的是当时底层民众的思想)，也直接反映了文人改编鼓词的普通俗文人思想(他们代表了当时随着城市的扩大市民阶层人数的激增而产生的一种市民阶层的思想，当然这种思想也是指晚清石印术进入中国后文化印刷传播速度加快，鼓词逐渐成为普通市民的案头读物后而产生的一种思想来说的)，正是这种随着社会变迁产生的思想，又从科技和文化领域推动了整个社会的向前发展和进步。
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Some thought-provoking questions about this phenomenon include: was these artists' understanding of the "Orientalist" strain of Western art limited to emulating its form?
令人深思的是这些画家们对西方此一艺术表现思潮之了解是止於形式上的模仿，或是能够深入其文化上的意涵？亦即他们所作的只是形式上的置换而已，或是文化上的换喻。
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As such, this paper focused on the pioneer experiment of "the Mark on the Wall" in its text form, and its underlying origin and groundbreaking significance from the following aspects: First, the article dealt with the pioneer experiment of "the Mark on the Wall" in its text form, which will be manifested mainly in three aspects: that is the plotlessness of its content, the variousness of its Style, as well as the network structure formed by two types of time; Then, the article discussed the underlying origin behind the experimental text form of "the Mark on the Wall", there are two main aspects: namely, the generation of "the Mark on the Wall" is not accidental, but is of close relation with Virginia Woolfs resentment to the text form of the traditional novels and her exploration in the new novel forms.
首先，文章论述了《墙上的斑点》在艺术形式上的先锋实验性，其主要体现在三个方面：即内在无情节性、文体形式的综合化、以及由两种时间构筑的网状结构。接着，文章探讨了《墙上的斑点》文本形式实验背后的深层根源，主要有两个方面：即：《墙上的斑点》的产生不是偶然的，而是与弗吉尼亚·伍尔夫对传统小说艺术形式的不满和对新小说艺术形式的探索紧密相连的。
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You will understand what I mean by COMPLEXITYby noting these three aspects. Firstly, it refers tothe complexity in form. When CAD becameinvolved in the design process Architect's wereenabled with a higher level of control over evermore complex geometry. Consequently it canand will generate infinite possibilities in the futurefor form finding, which has shifted in emphasis asa more logical design process based onsystematic theories away from intuitive designtechniques. Secondly, it illustrates our growingsocial complexity. As technologies allow peopleto send and receive more information than before,in ever shorter time frames, the function ofarchitecture and urban space will increasinglybecoming ambiguous. Emergent, adaptive andtransformable spaces are replacing limitedfunction spaces gradually. Even a single spacewould afford more potential functions. Lastly, Iam referring to the complexity of collective design team organizations working on different projects.The fact is that our social work division is moreintricate and variegated today; Architects mustby necessity negotiate with governmentalauthorities, material suppliers, engineeringconsultants, quantity surveyor, contractors,planning authorities, landscape architects, interiordesigners, acoustical engineers, et cetera besidesjust our clients. Meanwhile, projects and designteams tend now to be a globally dispersednetwork. All of these things are challenging theconventional architectural practice, it'sorganization, and administration significantly.
Complex可以从3个层面上理解：首先是指设计形式上的复杂性，即引入计算机数字化技术后，建筑师可以设计和控制更高级、更复杂的几何形体，而不是简单地发挥计算机复制、粘贴的画图优势，让计算机真正参与到设计过程中，带来更多设计形式上的可能性（需要指出的是，这种形式上的演进已经从开始的直觉行为转成由系统理论指导的理性应用）；第二，是指与社会学相关的复杂性，科技让人们更多更快地接受和传递信息，建筑和城市空间的功能性变得越来越模糊，无法预知，随时间调整自身、不断变化的空间正在不自觉地逐步取代原有功能确定的传统空间，或者说一个空间要承受比以前晰释复杂性ARTICULATING COMPLEXITY多得多的功能要求；最后，是指在一个建筑方案内团队组织的复杂性，社会分工越来越详尽，建筑师要面对的除了甲方和使用者，还有政府权力部门、材料供应商、工程技术部门、合同签约顾问、城市规划部门、景观设计师、室内设计师、音响设计师等等相关的合作单位，同时，在项目和设计职员的地域分布上更趋向全球化，这些都带给建筑事务所内部管理和组织上前所未有的复杂性。
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On the basis Of he Systematic i.stwition and MIS Of the M PeM＼PM55g d and psyCholgical qUalities and iving habaits,the pper conluds and studies the Pres .nt.idential Ms of oe M peopk M.一;b.」.t［,.w to t［ cllrrelli sit.non in oina,M ppr put b＊S5M i.＊COnM on the suit」e ho mo6d…5r1eM5y55＊s1g on su46as＊ pM,——.sny一,sw,s1.s,——4一,一N… and devefopng forms Of he!lying qUarterS.
本文在对老年人的生理、心理特点以及老年人的生活习惯进行系统研究与分析的基础上，对国外和国内日前现有的有关老年人住宅的形式进行了总结和研究，并结合我国的国＿情，从住宅区的规划、配套设施、住宅的形式、规模、细部装修以及物业管理和开发形式上都对适合家庭养老的老年人住宅模式做出了详细的建议和结论。
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In contrast, trans-formationin the general sense tends to stick to the form of the original work, thus possibly failing in having not transformed itself from the latter and tendentiously confining itself within the form, to the result that it is to some extent represented in an imitation of the original.
而一般意义上的改编(来源：ABC论文e8网www.abclunwen.com)，则由于可能未及从原作之形&化&出，或过分拘泥于原文本的形式上的因素，或局限于小说的艺术特性，因而或许只能做到&转换&，即某种意义上的对原作形式上的摹仿。
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With further understanding and recognition in art, her painting style was changed continuously, especially breakthrough on artistic method and expressive forms. In 2005, Marta left Spain for Shanghai and was attracted by the purity of the Chinese traditional culture and traditional building materials. On the basis of the original artistic language, she was trying to integrate the Western and Chinese drawing language in terms of the expressive form. Generally, She planned models after modeling language of Western oil painting. Then, she pasted or collaged the traditional materials such as pearl, silk and knitting cloth on the drawing board.
随着对艺术的进一步理解和认知，她的绘画风格不断演变，尤其在艺术手法和表现形式上的突破。2005年，Marta从西班牙来到了上海，被中国传统文化的纯粹性和传统物质材料所吸引，在原有艺术语言的基础上，她试图在表现形式方面将中西方的绘画语言有意进行链接，她通常先用西方油画的造型语言塑型，然后将中国一些传统材料如珍珠、丝绸、针织布料等在画面上进行粘贴和拼贴。
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Chapters IV and V encompass the content of creation, expression forms, and work appreciation, where the chapter focuses on applying the innovative "Leaf grain glazing", utilizing the research techniques and firing experiment findings, in the format and content of the creation, with the study categories in the work expression encompassing the expression of leaf pattern glazing, integration of leaf pattern glazing and painting, pottery installations, and the adaptation of pottery installation and multimedia medium.
第四、五章是创作内容、表现形式与作品赏析。本章根据研究技法与烧成实验结果，将「叶纹釉面」技法上的创新，应用在创作形式与内容上之研究。作品在表现形式上，研究的项目包括木叶纹釉色表现，木叶纹釉与绘画的结合，陶装置˙装置陶以及媒材多元的应用。
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Thomas Aquinas summarized the form ideas of ancient Greek and Middle Ages, and made a systematic exposition on the three elements of aesthetics ( integrity , proportion and splendor).
托马斯·阿奎那总结了古代和中世纪的形式观念，以亚里士多德的形式观念为基础，阐述了美的三要素说；现代新托马斯主义者马利坦、吉尔松复活了亚里士多德的形式观念，并且从存在论(最高的存在即上帝、纯形式)上论证了包括美和艺术在内的整个世界。
- 更多网络解释与形式上相关的网络解释 [注：此内容来源于网络，仅供参考]
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formally：形式上
formal 形式的 | formally 形式上 | hypothetical 假定
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formally：正式地/拘泥礼仪/形式上/拘束地
formalize /使正式/使整形/形式化/拘泥形式/ | formally /正式地/拘泥礼仪/形式上/拘束地/ | formamyl /氨基甲酰基/
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formally equivalent：形式上相等
formalized meaning 形式化的意義 | formally equivalent 形式上相等 | formant amplitude 共振峰振幅
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have got：形式上是现在完成时,却和have是同一个意思
3. have got的含义 | have got形式上是现在完成时,却和have是同一个意思 | She has got a slight temperature. She has a slight temperature.她有点发烧.
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in form：在形式上
同时也观察到耶稣的解经法与当时犹太人的解经法在形式上(in form)有许多相似之处. 虽然末世性解经在形式上相似,但是内容(content)却不全相同;耶稣是要指明衪就是那位弥赛亚. 今日基督教同样地接受七十士译本为正典. 在末世论的解释上,
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in form：形式上
Williamson)所作的研究告诉我们,希伯来书和斐罗的相似之处是形式上(in form)的,而非观念/内容上(contents)的. 也认为形式上的相似是因为希伯来书作者和斐罗同样是处在同一个(亚历山大城)背景中. (注十四)另外,
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in form：形式上, 情况良好
for form 's sake form 形式上 | in form 形式上, 情况良好 | in due form 正式的, 按照规定的格式
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It is a matter of form：形式上的手续;例行公事;礼节问题
Liu Xiang was out of form in the Olympic Games. 刘翔在奥运会时状态不好. | It is a matter of form.形式上的手续;例行公事;礼节问题 | 1)The path winds through the woods. 这条路蜿蜒穿过树林.
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Proforma：形式上(的)
profondometer 深部异物定位器 | proforma 形式上(的) | proforma invoice 形式发票
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pro forma balance sheet：形式上的资产负债表
Break Even Analysis 盈亏平衡分析 | Pro Forma Balance Sheet 形式上的资产负债表 | Pro Forma Income Statement 形式上的收入报表