表现感情

基本解释 (translations)

emote  ·  emotivity  ·  emoted  ·  emotes  ·  emoting

与表现感情相关的网络例句 [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。

You can get really fancy with how your brows emote.

你可以迷恋于你的眉毛表现感情的方式。

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。

This should becomethe common concern of all public-minded intellectuals who care about society,political life and cultural affairs.

母语成为我们生活世界中表现感情，传达信息和进行思考的媒介。这本是不刊之论。

She is a typical "charming chinese old-style woman" who accepted a little "new education".through our analysis,we can find when she was giving in to her husband,she wanted to react against him inside of her;she loved her son ,but she took all she could do to let him give up his true love at the same time; she did pursue her love,but meanwhile shed rather let herself be in chains in this rich family and play a painful role between "mother" and "lover"; she looked down up working-class people ,but meanwhile she commiserated working-class women.all above,prove that fan is a double-personality female.she could stand for all contemopany chinese young women who were influenced by "new education": lovely but unreasonable.the author of "the thunder storm" expressed how contemopany chinese young women should face the challenge from life through creating her.meanwhile,it can prove the value of "the thunder-storm".

她是1个具有特殊魅力的"中国旧式女人"，同时又是受了点"新式教育"影响的女性。她是1个有着双重性格的女子。她对丈夫既表现出软弱地屈从又表现出怨恨和反抗；她既关爱儿子又要以世俗的等级观念来干涉儿子的感情；她敢于追求自己的爱情却又把自己束缚在1个狭小的空间；她鄙视下等人的生活同时又对处于社会底层的女性表现出真诚的同情。蘩漪是54时期中国青年知识女性的1个时代缩影。通过对她的分析，我们可以看到特定时期中国知识女性的可爱之处以及时代赋予给她们的缺陷，从而进1步阐述当代中国女性应该以什么样的姿态站在人生的舞台上，也更进1步确定了《雷雨》所具有的社会价值和时代意义。

Include: Of history of civilization of baleful and misinterpret China, China and historical historical fact; Baleful and misinterpret his country the history, do not respect what civilization and custom are used to human civilization, his country; Derogate in cold blood, evil of figure of the anybody in doing famous book of character of revolutionary cacique, hero, important history character, China and foreign countries and famous work; Ill will derogates people army, armed police, public security and judicatory figure; Have mistreat captive, inquisition by torture to extort a confession of the clue such as convict or guilty suspect; Expression violates guilty aggressive arrogance, specific reveal criminality detail, reveal special investigation shift, expose what ought to be protected to inform against the figure such as person, witness, audio; Advertise religious ultraism, instigate between each religion, denomination, the contradiction between be religious and masses of lack of faith and conflict, harm masses emotive; Advocate sees photograph, fortune-telling, see ghost of geomantic, augur, drive treat a disease those who wait for feudal superstition activity; With evil do means to depict heavy nature calamity, contingency, horrible incident, war to wait for catastrophic occasion; Specific show licentious, rape, incestuous, love cadaver, walk the street, go whoring, of the clue such as sexual allergy, masturbation; Of the detail such as means of process of expression or obscure performance sexual behavior, sex, sex and as associated as this overmuch body contact; Show intentionally, be masked with limbs only or cover position of human body privacy with very small pall; Contain sexual suggestion, sex to tease those who wait to make the person produces a gender to associate easily; Advocate extramarital love, much horn is loved, one-night standing, sex is mistreated and change wife wait for insalubrious content; In order to grow up the film, affection lubricious film, 3 class piece, pat secretly, expose one's body, dew point reachs all sorts of flirtation to sexual written language or picture regard video program as caption or be classified; Have intense of the clue such as excitant homicide, bloody, violent, suicide, kidnap, drug taking, gamble, clever different; Have picture of excessive fright bloodcurdling, caption, background music and sound effect; Specific show animal of cause sb's death by maltreating him, catch kill, edible country protects kind of animal; Contain those who encroach individual privacy content; With affirmative, favorable fundamental key or fetching me-too means expression fights other people of affray, shame, corrupt of character bawdry; The philosophy with inactive, decadent advocate, world outlook and viewpoint of value, unwisdom of sedulous apply colours to a drawing, exaggerated nation lags behind or of social the seamy side; The cutout of the program of movie and TV that total bureau of TV of national broadcast film prohibits travelling and film, teleplay reduces part; Violate relevant law, statute of spirit.

包括：恶意曲解中华文明、中国历史和历史史实的；恶意曲解他国历史，不尊重人类文明、他国文明和风俗习惯的；蓄意贬损、恶搞革命领袖、英雄人物、重要历史人物、中外名著及名著中重要人物形象的；恶意贬损人民军队、武装警察、公安和司法形象的；有虐待俘虏、刑讯逼供罪犯或犯罪嫌疑人等情节的；表现违法犯罪嚣张气焰，具体展示犯罪行为细节，暴露特殊侦查手段，暴露应当受到保护的举报人、证人等形象、声音的；鼓吹宗教极端主义，挑起各宗教、教派之间，信教与不信教群众之间的矛盾和冲突，伤害群众感情的；宣扬看相、算命、看风水、占卜、驱鬼治病等封建迷信活动的；以恶搞方式描绘重大自然灾害、意外事故、恐怖事件、战争等灾难场面的；具体展现淫乱、强奸、乱伦、恋尸、卖淫、嫖娼、性变态、自慰等情节的；表现或隐晦表现性行为、性过程、性方式及与此关联的过多肉体接触等细节的；故意展现、仅用肢体掩盖或用很小的遮盖物掩盖人体隐私部位的；带有性暗示、性挑逗等易使人产生性联想的；宣扬婚外恋、多角恋、一夜情、性虐待和换妻等不健康内容的；以成人电影、情色电影、三级片、偷拍、走光、露点及各种挑逗性文字或图片作为视频节目标题或分类的；有强烈刺激性的凶杀、血腥、暴力、自杀、绑架、吸毒、赌博、灵异等情节的；有过度惊吓恐怖的画面、字幕、背景音乐及声音效果的；具体展示虐杀动物，捕杀、食用国家保护类动物的；带有侵犯个人隐私内容的；以肯定、赞许的基调或引人模仿的方式表现打架斗殴、羞辱他人、污言秽语的；宣扬消极、颓废的人生观、世界观和价值观，刻意渲染、夸大民族愚昧落后或社会阴暗面的；国家广播电影电视总局禁止传播的影视节目以及电影、电视剧的删减片段；违反相关法律、法规精神的。

It is necessary to be one-sided, since this facilitates the vehemence that is considered a proof of strength.

有偏见是很有必要的，这样有利于表现感情的强度，而感情的强度往往被视为有力。

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。

Hugged mightily, squeezing the breath out of each other, saying, son of a bitch, son of a bitch, then, and easily as the right key turns the lock tumblers, their mouths came together, and hard, Jack's big teeth bringing blood, his hat falling to the oor, stubble rasping, wet saliva welling, and thedoor opening and Alma looking out for a few seconds at Ennis's straining shoulders and shutting the door again and still they clinched, pressing chest and groin and thigh and leg together, treading on each other's toes until they pulled apart to breathe and Ennis, not big on endearments, said what hesaid to his horses and daughters, little darlin.

两人抓住彼此肩膀，使劲拥抱，压得几乎断气，不住说著：狗娘养的，狗娘养的，随后，宛如插对钥匙转动锁制栓一般油然，两人四唇交接，力道之强，杰克的门牙咬出了血，帽子掉落地板，短须摩擦出沙沙声，唾液泉涌，此时家门打开，艾玛朝外观望数秒，看到恩尼司紧绷的肩膀，关上门，两人仍紧紧相扣，胸部、鼠蹊、大腿、小腿皆密不透风，彼此踩住对方脚趾，最后为了呼吸而分开时，不轻易表现感情的恩尼司说出他对爱马与爱女的昵称，小亲亲。

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。

与表现感情相关的网络解释 [注：此内容来源于网络，仅供参考]

continuance commitment：继续承诺

三个因素分别为: 感情承诺(affective commitment),指员工对组织的感情依赖、认同和投入,员工对组织所表现出来的忠诚和努力工作,主要是由于对组织有深厚的感情,而非物质利益; 继续承诺(continuance commitment),指员工对离开组织所带来的损失的认知,

deformation：变形

野兽主义作家们,对眼所看到的形象描写极度排斥,那好似以心为限,即是说对诉诸画家感情的东西,只以素直和大胆的表现,因此这种所表现的现象,是已通过了感情的三棱角,在我们视觉上所得到的形象显着的是"变形"(Deformation)了.

drama：戏曲

我们考察希腊古代的颂歌(Hymn)史诗(Epic)戏曲(Drama)发达的历史,觉得都是这样情形. 上古时代生活很简单,人的感情思想也就大体一致,不出保存生活这一个范围;那时个人又消纳在族类里面,没有独立表现的机会:所以原始的文学都是表现一团体的感情的作品.

EMOTE：表现感情

emolument 报酬 | emote 表现感情 | Emoticons 字符图释

home setting of emotionality：家庭感情气氛

家庭感情气氛(home setting of emotionality)家庭成员相互之间的感情和态度,是家庭中占优势的一般态度和感受的综合表现. 家庭感情气氛对儿童心理发展影响极大. 儿童的态度、感受、思想和一般行为可能反映出家庭中占优势的感情气氛.

corn :n.melodrama,overemotional drama：情节剧;感情表现夸张的戏剧

"For corn sake!":"Oh,my goodness!" "噢,天哪!"- | corn :n.melodrama,overemotional drama情节剧;感情表现夸张的戏剧- | eg. What a bunch of corn!这一连串的情节剧真精彩啊!-

project oneself：突出自己, 表现自己;设想自己处身于

n. plan 提案,议案 | project oneself突出自己, 表现自己;设想自己处身于(into) | projects th. onto sb. 设想某人怀有和自己 一样的想法(或感情); 以己之心度人之腹

behaved badly：表现不良

be traumatized 精神受创作的 | behaved badly 表现不良 | bond of affection 感情的联系

emoticons：字符图释

emote 表现感情 | Emoticons 字符图释 | emotion 情绪

Volkslied：民歌

歌德从他学到了触觉在精神成长过程中所具的作用;学到了艺术家是铸造表现感情的种种形式的创造者这个新观点;学到了诗是人类固有的最富于生命力的语言这种新理论;学到了一种新风格的优点,那就是民歌(Volkslied)的风格,珍藏在<<圣经>>中的"原始"民族的诗歌风格,