表现爱情的

基本解释 (translations)

caressing

与表现爱情的相关的网络例句 [注：此内容来源于网络，仅供参考]

A detailed analysis of the painting Bacchus and Ariadne thus reveals a complex and subtle structure.

在格罗的同时代人中，只有少数几个人能够理解并赞赏他对《巴克斯与阿里阿德涅》这一表现爱情的神话题材的把握，对"丰富的瞬间"的想象。

Love narration was not only mentioned about chase of classical love, but confusion of modern love after lust was studied, with both of which transmutations of human essence from old times to modern were embodied.

爱情叙事既写到了对古典爱情的追求，也写到在欲望面前对现代爱情的迷惘，并以此表现"传统人性"向"现代人性"的嬗变。

Urban literature was influenced by church literature and chivalric literature on the representation of female's love.

中世纪西欧城市文学对女性爱情的表现受到了教会文学和骑士爱情的双重影响。

Another then fall in love at first sight, listen to don't enter anyone to advise , which afraid become bankrupt also regardless the sacrifice, from present mother to his inheritance secretly to the lover, in addition, he mightiness of envy the heart is also his love to express profoundly, keeping most genuine feeling a person clay-cold cover up into the underground.

另一个则一见钟情，听不进任何人的劝阻，哪怕倾家荡产也在所不惜，由暗中将母亲给他的遗产赠送给情人，此外，他强烈的嫉妒心也是他的爱情的深切表现，直至情人死后埋入地下，他仍然设法将她挖掘出来，见上最后一面。他的爱情到了无以复加的地步。两者比较而言，马阿格丽特是更为丰满的形象

Through the narration of the bitter love experiences of its heroine Cytherea and hero Edward,Desperate Remedies reveals the moral orientation of the major characters in their handling of kinship,friendship,love and marriage relationship.

枉费心机》围绕着女主人公塞西利亚与男主人公爱德华的爱情遭遇展示了小说中的主要人物在处理亲情、友情、爱情与婚姻关系中所表现出来的伦理道德取向。

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。

The Red Peony is a sweet love-story about the beautiful heroine, who has great passion and who at last returns to the real world from looking for an absolutely "first-class" husband. The novel re- veals the author's hidden compensatory mentality for romantic love and his noted prostitute complex. The novel not only reveals the author's affection for perfection, but also his wisdom of recognizing and accept- ing the inevitable dissatisfaction in life.

《红牡丹》写一位至性至情兼天生丽质的女主人公和一组美丽香艳的爱情故事，写该主人公如何由追求绝对的&一把手&丈夫到回归现实，表现了作者隐蔽的名妓情结、浪漫爱情的补偿心理以及爱好完美又乐于承认和接受人生必然不完美的选择。

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。

Rose Bud jade white jade carved from the natural form in Afghanistan, and its delicate texture, smooth, rich rhyme flow, color and soft, pure white, through high, feel good, strong sense of fats, the right of the slide to show the texture silk roses, and on behalf of the Rose of love with the people to explain the tenacity of love and innocence.

玉玫瑰花蕾选自天然阿富汗白玉精雕而成，其质地细腻、光滑、流韵丰满、色泽柔和、纯白、透度高、手感好，油脂感强，恰到好处的表现出玫瑰丝滑的质感，与代表爱情的玫瑰结合，阐释着国人对爱情的执着与纯真。

Along with the Provencal poetry the knightly love as a social idea emerged and expanded in the south of France.At the beginning the poetry was composed and sung by troubadours in the Provencal vernacular.The poetry represented mainly the idea of the knightly love.

西欧中世纪骑士爱情观念最初以普罗旺斯抒情诗为载体产生并发展起来，这类诗歌产生于法国南部地区并由行吟诗人用普罗旺斯地区的方言创作并演唱，其中主要表现骑士的爱情情感和观念。

与表现爱情的相关的网络解释 [注：此内容来源于网络，仅供参考]

Sweet Bitterness：甜蜜的痛苦

不过,为了表现爱情独有的那份甜蜜的痛苦(sweet bitterness),作家又往往会设计出诸多的坎坷,让男女主人公经历爱情过程中的各种滋味,也让读者和观众不时地唏嘘惋惜.

caressing：表现爱情的

caressing 爱抚的 | caressing 表现爱情的 | caressingly 爱抚地

caressingly：爱抚地, 亲切地

caressing | 爱抚的, 表现爱情的, 亲切的 | caressingly | 爱抚地, 亲切地 | caressive | 似爱抚的, 亲柔的

J jealous：嫉妒是爱情的深刻表现

i-independence, 要学会独立,不能盲目听从. | j-jealous, 嫉妒是爱情的深刻表现. | k-kiss, 不用解释了吧.

Miriam Yeung：杨千嬅

他们合拍的爱情三部曲:>,>、> 都是表现爱情另一面的 邓丽欣:1.电影名称: 甜丝丝 My Sweetie 电影类型: 喜剧片 主演: 杨千嬅(Miriam Yeung) 郑中基(RONALD CHENG) 森美 邓丽欣 Kary 官恩娜 吴日言 田

Mystery：神秘的

电影>是以神秘的(Mystery)记忆(Memory)神秘的爱情(Melo)等多种类型表现的电影,描写出失去记忆的悲哀,又可怕又美丽的爱情故事.今年在康城电影市场上,因「Project M」这个名字而引起了话题.

Ronald Cheng：郑中基

他们合拍的爱情三部曲:>,>、> 都是表现爱情另一面的 邓丽欣:1.电影名称: 甜丝丝 My Sweetie 电影类型: 喜剧片 主演: 杨千嬅(Miriam Yeung) 郑中基(RONALD CHENG) 森美 邓丽欣 Kary 官恩娜 吴日言 田

Somewhere：某个地方

在另一首歌曲中,伯恩斯坦透露了一个化解仇恨、爱情至上的地点:"某个地方"(somewhere). 旋律以一个平静上升的七度音开始. 一个最初让人联想到暴力的音乐标志,如今象征着爱情与对更美好未来的向往. >是一部以悲剧收场、以音乐表现幻想的现实主义音乐剧.

caressant：爱抚的,宠爱的

caress | 爱抚, 接吻 抚爱 | caressant | 爱抚的,宠爱的 | caressing | 爱抚的, 表现爱情的, 亲切的

Ronald Cheng：郑中基

他们合拍的爱情三部曲:<<我的最爱>>,<<独家试爱>>、<<十分爱>> 都是表现爱情另一面的 邓丽欣:1.电影名称: 甜丝丝 My Sweetie 电影类型: 喜剧片 主演: 杨千嬅(Miriam Yeung) 郑中基(RONALD CHENG) 森美 邓丽欣 Kary 官恩娜 吴日言 田