苍凉地

基本解释 (translations)

bleakly

与苍凉地相关的网络例句 [注：此内容来源于网络，仅供参考]

The 'arrival' of Sisyphus means that he has to employ 'pathetic fallacy' to personify the stone as signifying man's desire and mental burden – the stone lying at the roadside has been changed and elevated to a symbolic level, which incorporates the myth with heroic spirit and becomes the objective equivalent to that of desire, anxiety, and pressure. In essence, the physical features are drowned and from between to express the natural physical features or the ideas, he chooses the latter. This means that there is disjoint between what originally moved him and what he would like to express, but he is acutely aware of it – the 'danger of illustration'. We can see that these series of paintings are finally presented to us, the physical features of the objects still remains and are expressed to some extent. Among them some directly depict the stones in their own part about their pleats and points, desolateness and heaviness; at the meantime, nobody appears in the pictures.

西西弗斯的"到来"，意味着他不得不采用感情误置的方式，将石头进行拟人化的处理，用以指称人的欲望和精神负担——那块路边的石头已经不复它本来的面目，它被提升到一个象征的位置上，与神话和英雄的精神题旨迅速结合在一起，成为人性之中欲望、焦虑、压力等情感的客观对应物，从本质上来说，物自身的特性被淹没了，在表现物的自然特性和表现理念这两者之间，他选择了后者，这意味着，在感动他的最初事实与他要表现的事实之间就有了一种脱节，但他敏感地意识到了这种脱节，这种"图解的危险"，我们可以看到，当这组画最终呈现在我们面前的时候，物的自然特性得到了很大程度的挽留和表现，其中有一些画作直接描绘了岩石本身，它本身的褶皱和棱角、苍凉和沉重，同时，并没有人出现在这样的画面上。

But the author puts all this variegation to good use, taking expert measure of our capacity for self-delusion and complicity, not to mention desolation.

但作者提出这一切上色很好地利用，同时专家衡量我们的自卫能力，妄想和同谋，更遑论苍凉。

Zhangs superfluity consciousness makes the content and form of her works reach the perfect integrity and unity, and helps to form a peculiar personal discourse of her own.

多余感心态使张爱玲小说文本的形式与内容达到高度完美地整合与统一，从而形成了她独特的个人话语方式，完成了一个美丽而苍凉的手势。

The writer grasped veraciously the despondent and downfallen character of the figures in her novels. She portrayed an obsolete, closed and downfallen "memory" of the flaccid and common people in the times of transition with her unique realization of life. With a desolate and sharp angle of view of "appreciation of ugly", she wrote her works in a pose of anti-heroism and romanticism and took love affairs and marriage as cutting points reflecting a common, eternal and desolate tragic life under the desolate background elaborately built by her.

作家准确地把握了人物封闭于其中的那种生活的颓丧、没落的特征，以其独特的人生感悟，以反英雄主义和浪漫主义的创作姿态，以苍凉犀利的"审丑"视角，以男女婚恋关系为切入点，在精心营造的苍凉背景下，演绎了普通、软弱的凡人在时代转折之际古旧的、封闭的、没落的生活"记忆"，反映了普遍的、永恒的、苍凉的悲剧人生。

Setting sun shines, In the vast desert where, in the monastery is surrounded by the desolation, I see a ray of Grass, in the quiet fragrance, I yearned, Zoulehenjiu can it remains the same, so far away from me, so far away and ruthlessly and coldly, hiding the setting sun, the end of the heaven and earth to me nod, although it is clearly aware that I take do not go, Forever I have is just lonely, and their own, but also There have been stretched, and figure, oh, I should not be forgotten, and thankful seemingly happy, footprints.

残阳斜照，在无边的荒芜里，在极目的苍凉中，我看到一缕芳草，在静静地飘香，我向往着，走了很久，可它依旧，离我那么远，那么远，无情地而冷漠地，躲在斜阳之外，在天与地的尽头，向我颔首，虽然，它明明知道，我带不去，地久天长，我有的，只是落寞的，自己，还有，被拉长的，身影，哦，我不该遗忘，那串看似快乐的，脚印。

The 'arrival' of Sisyphus means that he has to employ 'pathetic fallacy' to personify the stone as signifying man's desire and mental burden – the stone lying at the roadside has been changed and elevated to a symbolic level, which incorporates the myth with heroic spirit and becomes the objective equivalent to that of desire, anxiety, and pressure. In essence, the physical features are drowned and from between to express the natural physical features or the ideas, he chooses the latter. This means that there is disjoint between what originally moved him and what he would like to express, but he is acutely aware of it – the 'danger of illustration'. We can see that these series of paintings are finally presented to us, the physical features of the objects still remains and are expressed to some extent. Among them some directly depict the stones in their own part about their pleats and points, desolateness and heaviness; at the meantime, nobody appears in the pictures.

西西弗斯的&到来&，意味着他不得不采用感情误置的方式，将石头进行拟人化的处理，用以指称人的欲望和精神负担——那块路边的石头已经不复它本来的面目，它被提升到一个象征的位置上，与神话和英雄的精神题旨迅速结合在一起，成为人性之中欲望、焦虑、压力等情感的客观对应物，从本质上来说，物自身的特性被淹没了，在表现物的自然特性和表现理念这两者之间，他选择了后者，这意味着，在感动他的最初事实与他要表现的事实之间就有了一种脱节，但他敏感地意识到了这种脱节，这种&图解的危险&，我们可以看到，当这组画最终呈现在我们面前的时候，物的自然特性得到了很大程度的挽留和表现，其中有一些画作直接描绘了岩石本身，它本身的褶皱和棱角、苍凉和沉重，同时，并没有人出现在这样的画面上。

与苍凉地相关的网络解释 [注：此内容来源于网络，仅供参考]

BRANCH：树枝

路边的树,叶子已经凋谢(wither);剩下灰色的树干(trunk)与树枝(branch),显得坚实(firm)而苍凉(bleak);在这寒冷的冬天(chilly winter);竟然还有一片草地(meadow)在顽强地向人们显示(reveal)它的绿;远处(in the distance)一个烟卤在冒着烟(puff),

in the distance：(远处)

路边的树,叶子已经凋谢(wither);剩下灰色的树干(trunk)与树枝(branch),显得坚实(firm)而苍凉(bleak);在这寒冷的冬天(chilly winter);竟然还有一片草地(meadow)在顽强地向人们显示(reveal)它的绿;远处(in the distance)一个烟卤在冒着烟(puff),

wither：凋谢

路边的树,叶子已经凋谢(wither);剩下灰色的树干(trunk)与树枝(branch),显得坚实(firm)而苍凉(bleak);在这寒冷的冬天(chilly winter);竟然还有一片草地(meadow)在顽强地向人们显示(reveal)它的绿;远处(in the distance)一个烟卤在冒着烟(puff),