正面描绘的英文翻译(translate 正面描绘 to english) - 汉英 - 词典

Here Pilgrims roam, that stray'd so farr to seek In Golgotha him dead, who lives in Heav'n; And they who to be sure of Paradise Dying put on the weeds of Dominic, Or in Franciscan think to pass disguis'd; [ 480 ] They pass the Planets seven, and pass the fixt, And that Crystalline Sphear whose ballance weighs The Trepidation talkt, and that first mov'd; And now Saint Peter at Heav'ns Wicket seems To wait them with his Keys, and now at foot [ 485 ] Of Heav'ns ascent they lift thir Feet, when loe A violent cross wind from either Coast Blows them transverse ten thousand Leagues awry Into the devious Air; then might ye see Cowles, Hoods and Habits with thir wearers tost [ 490 ] And flutterd into Raggs, then Reliques, Beads, Indulgences, Dispenses, Pardons, Bulls, The sport of Winds: all these upwhirld aloft Fly o're the backside of the World farr off Into a Limbo large and broad, since calld [ 495 ] The Paradise of Fools, to few unknown Long after, now unpeopl'd, and untrod; All this dark Globe the Fiend found as he pass'd, And long he wanderd, till at last a gleame Of dawning light turnd thither-ward in haste [ 500 ] His travell'd steps; farr distant he descries Ascending by degrees magnificent Up to the wall of Heaven a Structure high, At top whereof, but farr more rich appeer'd The work as of a Kingly Palace Gate [ 505 ] With Frontispice of Diamond and Gold Imbellisht, thick with sparkling orient Gemmes The Portal shon, inimitable on Earth By Model, or by shading Pencil drawn.

此外还有很多，说起来未免太冗长，他们无非是些未成熟的、痴呆的、穿着黑、白、灰色衣的身带骗人的假法宝的隐士和托钵僧。其中有的在这里云游巡礼，曾到各各他去寻觅那活在天上的死人，临终穿上圣多明我派或圣方济派的袈裟，以证明自己确实去过极乐天堂，他们误以为这样打扮就可畅通无阻。他们通过七星天，通过"恒星天"，通过那权衡黄道振动均势的"水晶天"，并且还通过"原动天"。圣彼得手拿钥匙，站在天堂的边门口，像是在等待他们，正要举步登上天堂的阶梯时，看吧！从左右吹来一阵猛烈的横风，他们被斜吹到十万里外的远空中去：那时看见僧帽、头巾、袈裟，连同它们的穿戴者一起被吹翻扯烂，还有圣骨、念珠、免罪券、特免证、赦罪证、训谕，全被高高卷起，都成了风的玩具，他们飘过这世界的背面而远落在广大的地狱边缘，被称"愚人的乐园"，很久之后将是家喻户晓的，但是现在却是人迹罕至的地方。魔王走过这整个黑球，经过长久的漫游，终于发现一线曙光，便加紧他的步伐，向那边走去。他远远望见一座高大的建筑，从它那宽大的阶梯拾级而上，可以抵达天国的城垣，它的顶上，像有比王宫还要富丽的宫门，它的正面镶有金刚石和黄金；大门上密饰着东方的珠宝，光彩夺目，人间的浓淡画笔也无法描绘它。

Even positive images of the Prophet Muhammad are not allowed to prevent idolatry in the religion.

甚至对先知默罕默德正面的描绘也是禁止的，是为了保持其在在宗教的偶像地位。

From May 4th Movement of 1919 to the 1920s, sex love narrations in Chinese novels were rather an enlightenment and liberation in that particular era with four characteristics. Firstly, sexual desire was endowed with rationality with regard to liberation of human nature and mutual love. Secondly, with an epochal concern for a stronger and superior race, greater attention was paid to sexual parties concerned, mainly physically. Thirdly, new ethics on sex were promoted in that personal freedom on sex love was emphasized and sex love became an important way of self-fulfillment. Therefore, independence of sex love was advocated and the scope of sex love was also widened. Fourthly, the sex consciousness of this period had the mixed features of the past and the contemporary. Sex love narrations in the 1930s and 1940s showed a further exploration on the theme of human nature. First of all, sex was restored to a kind of desire. ShenCongwen probed the importance of harmonious sex love to a sound personality and Shi Zhecunrevealed that sexual inhibition could lead to the distortion, even frenzy of human nature. Bothexplored the influence and functions of sexual desire as human nature upon human personality,giving prominence to the irresistibleness of sexual desire and the significance of sexual desire asa motive. Then, human bodies driven by sexual desire were described and given greater attentionto. Next, ethics on sex were deconstructed either by Shen Congwen who opposed man-madeethics with law of nature and the School of New Sensation who replaced traditional ethics on sexwith exchange rules in consumption, or by Shi Zhecun who spared no efforts in representing thecomplete failure of social rules, including ethics on sex, due to the impact from sexual desire.The direct effect was a paleness of the ethical binding force on sex. Last, sex consciousness inthe works of female writers emerged. In the early works of Ding Ling, the sexual desire of thefemale is no longer a ramification of emotion but an independent one. In addition, in the sex lovenarrations of other female writers, such as Mei Niang, strong self-consciousness on the socialstatus of the female is also reflected. Sex love narrations in the late 1970s and early 1980s wereactually a re-enlightenment in the spirit of humanism, whose major features include humanisticlegitimation of sex love within the boundary of ethics, a blend of sex love narrations withnational concepts and national myths as well as the aesthetic, poetic descriptions of humanbodies etc. In the middle and late 1980s, sex love narrations entered a stage of exploration forpluralism. First, by restoration of sexual desire, writers of this era restored human nature, thevery original state of human being. Different emphasis and tendencies could be seen in differentwriters: looking at sex love dialectically and trying to describe its creative as well as destructivecharacteristics; connecting sex love with violence and trying to reveal the evil side of humannature through it; emphasizing the creativeness of sex love especially in the heritage of"wildness".

从"五四"到20世纪20年代，中国小说的性爱叙事是一种处在时代夹缝中的启蒙和解放，其所表现出来的特点，一是正面赋予性欲望以合理性，这种合理性是在人性解放和爱情前提下获得的；二是在强种育种的时代焦虑影响下小说性爱叙事表现出对物质身体的关注，其焦点主要在体格方面；三是树立起新的性伦理道德观念，表现为强调在性爱问题上的个人选择自由，性爱成为个人自我实现的重要方式，从而赋予人在性爱问题上的独立性，同时还扩大了性爱表现的领域；四，这个时期小说性爱叙事中所表现出的性意识还具有新旧杂糅的特点。30、40年代小说性爱叙事表现出对人性主题的深化与丌拓，首先是把性还原为欲望本身来探索，沈从文从和谐性爱对健全人性的决定作用、施蛰存从性压抑会导致人性扭曲甚至疯狂的角度探讨作为人类本质性欲望的性对人性产生的影响和作用，突出了性欲力量的不可抗拒和作为人类行为的重要动力等方面的内容；其次在叙事中表现出对欲望化了的身体的描绘与关注；第三是解构了性的伦理道德，无论是沈从文以自然法则来反对人为的道德设置还是新感觉派用消费交换原则替代传统性伦理道德，或是施蛰存极力表现包括性伦理规范在内的社会法则在性欲力量冲击下溃不成军，其直接的效果都是使性伦理道德对人的约束力量显得苍白虚弱；第四，出现了由女性作家表现的女性性意识，在丁玲的早期作品中女性的性欲望不再是作为感情的衍生物而是独立的欲望存在，而在梅娘等其他女作家的小说性爱叙事中则表现出对女性社会地位的强烈自觉意识。70年代末80年代初期小说的性爱叙事实际上是在人道主义语境下的再次启蒙，其主要特征一是性爱在人道主义前提下获得合法性，但要求性爱不超出伦理规定的范围；再就是将性爱叙事同国家观念和民族神话相融合；此外还有对身体的描写审美化诗意化等。80年代中后期，小说性爱叙事进入了多元化探索的阶段，作家通过还原性欲望来还原人性、还原人类的本真状态，不同作家笔下表现为不同的侧重和倾向——以辨证的方式看待性爱，写出其具有的创造性力量和毁灭性特征；将性爱与暴力相联系并通过其来表现人性的黑暗；强调性爱的创造性作用，尤其在民族"血性"的传承方面。

But the new China's movie changed this kind of situation, in the Chinese movie the feminine image is by the frontage description that they have the self- existence the value, mother containing the quality,and the independence the personality charm,which is just like the kaffir lily,carnation and the clubs these three kind of different special characteristics flower.

新中国的影片则改变了这种情况，在中国电影中女性形象是被正面描绘的，她们有自我存在的价值，有母亲般包容的品质，有独立的人格魅力，好比君子兰、康乃馨、梅花这三种不同特质的花。

Medals positive description of the two young women to an Olympic champion wearing garlands of lauryl scene.

奖牌正面描绘的是两名女性为一位年轻的奥运冠军佩戴月桂花环的场景。

Here Pilgrims roam, that stray'd so farr to seek In Golgotha him dead, who lives in Heav'n; And they who to be sure of Paradise Dying put on the weeds of Dominic, Or in Franciscan think to pass disguis'd; [ 480 ] They pass the Planets seven, and pass the fixt, And that Crystalline Sphear whose ballance weighs The Trepidation talkt, and that first mov'd; And now Saint Peter at Heav'ns Wicket seems To wait them with his Keys, and now at foot [ 485 ] Of Heav'ns ascent they lift thir Feet, when loe A violent cross wind from either Coast Blows them transverse ten thousand Leagues awry Into the devious Air; then might ye see Cowles, Hoods and Habits with thir wearers tost [ 490 ] And flutterd into Raggs, then Reliques, Beads, Indulgences, Dispenses, Pardons, Bulls, The sport of Winds: all these upwhirld aloft Fly o're the backside of the World farr off Into a Limbo large and broad, since calld [ 495 ] The Paradise of Fools, to few unknown Long after, now unpeopl'd, and untrod; All this dark Globe the Fiend found as he pass'd, And long he wanderd, till at last a gleame Of dawning light turnd thither-ward in haste [ 500 ] His travell'd steps; farr distant he descries Ascending by degrees magnificent Up to the wall of Heaven a Structure high, At top whereof, but farr more rich appeer'd The work as of a Kingly Palace Gate [ 505 ] With Frontispice of Diamond and Gold Imbellisht, thick with sparkling orient Gemmes The Portal shon, inimitable on Earth By Model, or by shading Pencil drawn.

此外还有很多，说起来未免太冗长，他们无非是些未成熟的、痴呆的、穿着黑、白、灰色衣的身带骗人的假法宝的隐士和托钵僧。其中有的在这里云游巡礼，曾到各各他去寻觅那活在天上的死人，临终穿上圣多明我派或圣方济派的袈裟，以证明自己确实去过极乐天堂，他们误以为这样打扮就可畅通无阻。他们通过七星天，通过&恒星天&，通过那权衡黄道振动均势的&水晶天&，并且还通过&原动天&。圣彼得手拿钥匙，站在天堂的边门口，像是在等待他们，正要举步登上天堂的阶梯时，看吧！从左右吹来一阵猛烈的横风，他们被斜吹到十万里外的远空中去：那时看见僧帽、头巾、袈裟，连同它们的穿戴者一起被吹翻扯烂，还有圣骨、念珠、免罪券、特免证、赦罪证、训谕，全被高高卷起，都成了风的玩具，他们飘过这世界的背面而远落在广大的地狱边缘，被称&愚人的乐园&，很久之后将是家喻户晓的，但是现在却是人迹罕至的地方。魔王走过这整个黑球，经过长久的漫游，终于发现一线曙光，便加紧他的步伐，向那边走去。他远远望见一座高大的建筑，从它那宽大的阶梯拾级而上，可以抵达天国的城垣，它的顶上，像有比王宫还要富丽的宫门，它的正面镶有金刚石和黄金；大门上密饰着东方的珠宝，光彩夺目，人间的浓淡画笔也无法描绘它。

From May 4th Movement of 1919 to the 1920s, sex love narrations in Chinese novels were rather an enlightenment and liberation in that particular era with four characteristics. Firstly, sexual desire was endowed with rationality with regard to liberation of human nature and mutual love. Secondly, with an epochal concern for a stronger and superior race, greater attention was paid to sexual parties concerned, mainly physically. Thirdly, new ethics on sex were promoted in that personal freedom on sex love was emphasized and sex love became an important way of self-fulfillment. Therefore, independence of sex love was advocated and the scope of sex love was also widened. Fourthly, the sex consciousness of this period had the mixed features of the past and the contemporary. Sex love narrations in the 1930s and 1940s showed a further exploration on the theme of human nature. First of all, sex was restored to a kind of desire. ShenCongwen probed the importance of harmonious sex love to a sound personality and Shi Zhecunrevealed that sexual inhibition could lead to the distortion, even frenzy of human nature. Bothexplored the influence and functions of sexual desire as human nature upon human personality,giving prominence to the irresistibleness of sexual desire and the significance of sexual desire asa motive. Then, human bodies driven by sexual desire were described and given greater attentionto. Next, ethics on sex were deconstructed either by Shen Congwen who opposed man-madeethics with law of nature and the School of New Sensation who replaced traditional ethics on sexwith exchange rules in consumption, or by Shi Zhecun who spared no efforts in representing thecomplete failure of social rules, including ethics on sex, due to the impact from sexual desire.The direct effect was a paleness of the ethical binding force on sex. Last, sex consciousness inthe works of female writers emerged. In the early works of Ding Ling, the sexual desire of thefemale is no longer a ramification of emotion but an independent one. In addition, in the sex lovenarrations of other female writers, such as Mei Niang, strong self-consciousness on the socialstatus of the female is also reflected. Sex love narrations in the late 1970s and early 1980s wereactually a re-enlightenment in the spirit of humanism, whose major features include humanisticlegitimation of sex love within the boundary of ethics, a blend of sex love narrations withnational concepts and national myths as well as the aesthetic, poetic descriptions of humanbodies etc. In the middle and late 1980s, sex love narrations entered a stage of exploration forpluralism. First, by restoration of sexual desire, writers of this era restored human nature, thevery original state of human being. Different emphasis and tendencies could be seen in differentwriters: looking at sex love dialectically and trying to describe its creative as well as destructivecharacteristics; connecting sex love with violence and trying to reveal the evil side of humannature through it; emphasizing the creativeness of sex love especially in the heritage of"wildness".

从&五四&到20世纪20年代，中国小说的性爱叙事是一种处在时代夹缝中的启蒙和解放，其所表现出来的特点，一是正面赋予性欲望以合理性，这种合理性是在人性解放和爱情前提下获得的；二是在强种育种的时代焦虑影响下小说性爱叙事表现出对物质身体的关注，其焦点主要在体格方面；三是树立起新的性伦理道德观念，表现为强调在性爱问题上的个人选择自由，性爱成为个人自我实现的重要方式，从而赋予人在性爱问题上的独立性，同时还扩大了性爱表现的领域；四，这个时期小说性爱叙事中所表现出的性意识还具有新旧杂糅的特点。30、40年代小说性爱叙事表现出对人性主题的深化与丌拓，首先是把性还原为欲望本身来探索，沈从文从和谐性爱对健全人性的决定作用、施蛰存从性压抑会导致人性扭曲甚至疯狂的角度探讨作为人类本质性欲望的性对人性产生的影响和作用，突出了性欲力量的不可抗拒和作为人类行为的重要动力等方面的内容；其次在叙事中表现出对欲望化了的身体的描绘与关注；第三是解构了性的伦理道德，无论是沈从文以自然法则来反对人为的道德设置还是新感觉派用消费交换原则替代传统性伦理道德，或是施蛰存极力表现包括性伦理规范在内的社会法则在性欲力量冲击下溃不成军，其直接的效果都是使性伦理道德对人的约束力量显得苍白虚弱；第四，出现了由女性作家表现的女性性意识，在丁玲的早期作品中女性的性欲望不再是作为感情的衍生物而是独立的欲望存在，而在梅娘等其他女作家的小说性爱叙事中则表现出对女性社会地位的强烈自觉意识。70年代末80年代初期小说的性爱叙事实际上是在人道主义语境下的再次启蒙，其主要特征一是性爱在人道主义前提下获得合法性，但要求性爱不超出伦理规定的范围；再就是将性爱叙事同国家观念和民族神话相融合；此外还有对身体的描写审美化诗意化等。80年代中后期，小说性爱叙事进入了多元化探索的阶段，作家通过还原性欲望来还原人性、还原人类的本真状态，不同作家笔下表现为不同的侧重和倾向——以辨证的方式看待性爱，写出其具有的创造性力量和毁灭性特征；将性爱与暴力相联系并通过其来表现人性的黑暗；强调性爱的创造性作用，尤其在民族&血性&的传承方面。