意象

基本解释 (translations)

imago  ·  imagoes

与意象相关的网络例句 [注：此内容来源于网络，仅供参考]

Great emphasis is put on the logic imagery movement in the process of visual thinking through relating the visual thinking theory of Arnheim's.They are as follows:the logic of choosing images,the logic of organizing images and the logic of distilling images.

通过对阿恩海姆的视觉思维理论的解读，着重诠释视觉思维过程中的意象运动逻辑："自上而下"的意象选择逻辑、"补足"与"重构"的意象组织逻辑、"抽象"和"概括"的意象升华逻辑。

Therefore, this research would focus on the conjunction of imageries between music and color.

因此，本研究主要为深入探讨音乐意象空间与色彩意象空间彼此的相关联性，经过数据整理后，藉由相关分析可得知音乐意象与色彩意象有良好的相关性，而音乐意象也与音乐的三属性有相关。

Through these images ,the relationships of the images,and their different gradational status,this article aims at expounding the meaning and connotation each image stands for ,there by giving this contentious passage a explanatory analysis.

如果一篇文章存在多个意象，那么不仅意象和意象之间，必然存在着一定的相互联系，而且各意象也必然存在于一定的层次关系之中。鲁迅先生的散文诗《雪

In the c ognitive domain, the synaesthetic image involves the mapping of image from a low er modality onto a higher one more frequently than its inverse, the mapping fromthe more accessible properties of the source image to the less accessible one o f the target image. In the aesthetic domain, the synaesthetic image, as a novel metaphorical image,provides much food for the subject's aesthetic experience. M eanwhile, in the literary domain, the image reveals its poetic function in narra tion.

在认知的范畴里，通感意象一般 SsbbwW.com 产生于由低级感官域的意象到高级感官域的意象的映射，亦即从可及性较强的意象特征到可及性较弱的意象特征的映射；在美学的范畴里，通感意象作为 dddtt 一种新颖的隐喻意象丰富了主体的审美体验；而在文学的范畴里，通感意象则具有诗学的功能，表现出叙事的文学性。

In the c ognitive domain, the synaesthetic image involves the mapping of image from a low er modality onto a higher one more frequently than its inverse, the mapping fromthe more accessible properties of the source image to the less accessible one o f the target image. In the aesthetic domain, the synaesthetic image, as a novel metaphorical image,provides much food for the subjects aesthetic experience. M eanwhile, in the literary domain, the image reveals its poetic function in narra tion.

在认知的范畴里，通感意象一般产生于由低级感官域的意象到高级感官域的意象的映射，亦即从可及性较强的意象特征到可及性较弱的意象特征的映射；在美学的范畴里，通感意象作为一种新颖的隐喻意象丰富了主体的审美体验；而在文学的范畴里，通感意象则具有诗学的功能，表现出叙事的文学性。

In the c ognitive domain, the synaesthetic image involves the mapping of image from a low er modality onto a higher one more frequently than its inverse, the mapping fromthe more accessible properties of the source image to the less accessible one o f the target image. In the aesthetic domain, the synaesthetic image, as a novel metaphorical image,provides much food for the subject's aesthetic experience.

在认知的范畴里，通感意象一般产生于由低级感官域的意象到高级感官域的意象的映射，亦即从可及性较强的意象特征到可及性较弱的意象特征的映射；在美学的范畴里，通感意象作为一种新颖的隐喻意象丰富了主体的审美体验；而在文学的范畴里，通感意象则具有诗学的功能，表现出叙事的文学性。

This chapter starts with the determination of primary sense of under. Then it focuses on how its spatial senses are extended from the central image schema to its transformations by metonymy. Next, this part also focuses on how its metaphorical senses are extended in terms of the central image schema and transformations by metaphor. In these analyses, this thesis summarizes four kinds of relations: the relation of UP-DOWN, the relation of HIGH-LOW, COVERING relation or the relation of IN-OUT and the relation of SOURCE-PATH-GOAL. Lots of metaphorical senses of under are derived from these basic spatial relations. In this thesis, the relations between the senses derived from central image schema and those derived from its transformations are explored at length. The relations between the spatial senses derived from central image schema and transformations and the metaphorical senses derived from them are also explored at length. The above analyses demonstrate that the sense extension of the spatial preposition is motivated by image schema, which also provides the root for metonymic and metaphorical extension. The semantic network of under is diagramed finally.

论文首先确定了under的首要意义；然后集中探讨了它的空间意义如何从中心意象图式，通过转喻形成许多变体，从而得以延伸；接着分析了它的隐喻意义如何从中心意象图式及其变体通过隐喻而得以延伸，在此分析中，本论文总结了四种关系：上—下关系﹑高—低关系﹑覆盖关系或里—外关系和起点—路径—目标关系，under的很多隐喻意义源于这些基本的空间关系；本论文还对源于中心意象图式的空间意义与源于其变体的空间意义的关系进行了详细的剖析；对源于中心意象图式与其变体的空间意义及其延伸的隐喻意义之间的关系，也同样进行了详细的剖析；通过分析论证了，意象图式是空间介词义项扩展的源泉，同时也为转喻和隐喻提供了基础；最后得出under的语义网络。

Some of them are common imago, some of them are antetypal imagos.Some of them are singular, and some of them are imagos in group.

这些植物意象有的是一般意象，有的是原型意象；有的是个体意象，有的是意象群。

This paper is maining on the composing system of rural landscape image planning, that is the establishment of country carrier exhibiting system-rural settlements image, rural architecture image, rural environment image and their renovation and reconstruction; and the refiguring means of country landscape image- reconstruction, recombination and creation of ideal environmental feeling.

本文探索的重点内容在于乡村景观意象规划的组成系统，即乡村载体展现体系的建构——乡村聚落意象、乡土建筑意象、乡村环境意象及其有机更新与改造；以及乡村景观意象再塑造手段——乡村景观意象重构、乡村景观意象整合、乡村景观意象造境。

First of all, Chinese unique geographical surroundings result in cultivation civilization, in which people's living and production were utterly influenced or even controlled by sun and such disasters as floods and droughts caused by sun made our ancestors much more dread and hate the moon. On the contrary, in the view of our ancestors, moon not only is beneficial to the growth of crops, but brings about brightness, coolness and enjoyment, which in turn makes moon much more popular than sun. As a carrier of national emotion, mythology also contributes to the development of "valuing moon above sun"in that the collective unconscious of hating sun but loving moon reflected in mythologies such as "Hou Yi Shot the suns"and "Chang E's fly to moon"easily finds its expression in the course of selecting poetic images. Philosophically,"masculine"and "feminine"are realized in many aspects of social life, but the trinity of sun, monarchy and father, which is identical with "masculine"dominates the political and ethical field while the trinity of moon, mother and daughter, which represents "feminine", plays a leading part in culture and art. So far as poetry is concerned, the image of moon has an overwhelming superiority. Aesthetically speaking, the moon spirit has been embodied in several ways. Moon is both the origin and the summit of such aesthetic standards as softy, sweetness and clearness, so it is reasonable that the image of moon has been regarded as aesthetic object in poetry much more frequently than the image of sun.

中华民族所处的独特的地理环境孕育出了农耕文明，在农业社会中，太阳对人们的生产生活具有绝对的控制与影响，因日而起的水旱灾害更加深了先民对太阳的畏惧与仇恨；而月亮在先民心中，不仅能促进农作物的生长，而且带来了与太阳相反的皎洁、清凉、闲适，所以月亮比太阳受到更多的欢迎；神话是是民族情感的载体，&后羿射日&与&嫦娥奔月&所映射的恨日爱月的集体无意识，在诗歌意象的选取中自然地流露出来，有助于&重月轻日&现象的形成；哲学上的&阴&&阳&范畴在人们社会生活的多个方面均有体现，但与&阳&直接同一的&日—君—父&三位一体控制了政治、伦理领域；而代表&阴&的&月—母—女&则在文化、艺术领域占据了突出地位，具体到诗歌中，则是月亮意象完全压倒日意象；审美上的月神精神，在月亮意象上得到了多方面的反映，月亮既是阴柔美、恬静美、澄澈美等艺术审美准则的来源，也是其最高体现，月亮意象自然比日意象更多地进入诗歌审美领域，成为审美对象。

与意象相关的网络解释 [注：此内容来源于网络，仅供参考]

archetypal images：原型意象

"荣格用原型意象(Archetypal images)来描述原型将自身呈现给意识的形式. 但是荣格也一直努力区分原型与原型意象的不同. 原型本身是无意识的,我们的意识无从认识它;但是可以通过原型意象,来理解原型的存在及其意义. 于是,

archetypal image：原型意象

它以不具目的的幻想和梦中意象的形式出现,并反映出先於意识存在的心灵原型结构. [3]原型意象(archetypal image)指人类共通的心灵模式,不论是精神的或行为的,它可在个人梦境以及如神话、神仙故事和宗教象徵等文化素材中找到.

imagery：意象

Bernard Faure提出中国佛教中有两种"意象"(imagery)传统. 一种是以净土为代表的"诗性的意象",这一传统把佛和曼茶罗(mandalas)视象化;而以禅宗为代表的"创造的或沉思、神秘性的意象"传统,则以反智识主义的方式,

images：(意象)

肯尼斯.沃尔兹在其名著>中就提出了国际关系分析的三个"意象"(images) --人、国家和国际系统. 他认为第三个意象--国际系统--"设定了世界政治的框架,但没有第一和第二意象,我们也将无法了解决定外交政策的力量;

imagist：意象派的

imagism 意象派 | imagist 意象派的 | imagist 意象派诗人

imagist：意象派,意象派诗人

illuminate 阐明,举例说明 | imagist 意象派,意象派诗人 | imbibe 喝

imago repetition：意象重复

死亡意象:death imago | 意象重复:imago repetition | 城市意象:urban imago

urban imago：城市意象

意象重复:imago repetition | 城市意象:urban imago | 铁屋意象:iron house imago

imageless thinking：无意象思维

无意象思维:无意象思维(imageless thinking)没有意象参与或不需意象参与的思维. 19世纪末和20世纪初,在O.屈尔佩领导下的符兹堡学派,与W.冯特和E.B.铁钦内的正统派心理学,就思维过程是否必须以意象为基础这一问题,从理论上和经验事实上展开了长达15年的争论.

imageless thought：无意象思考

imageless thinking 无意象思维 | imageless thought 无意象思考 | imagery 意象