观众

基本解释 (translations)

audience  ·  spectator  ·  spectators  ·  audiences

与观众相关的网络例句 [注：此内容来源于网络，仅供参考]

PREPARATION: Catch a bluebottle type fly put it into a matchbob and close it up place in the freezer for 10 to 15 minutes and take outwhile in there the fly goes into hibernation due to the extreme cold the spectators hands warm up the fly and it comes back to life(but leave after taking out of freezer for about ten minutes or the spectator will be holding the fly for a long ass time. METHOD: Just make up your patter the method is described in the Routine part of this thing.

叫他们把两之手握成"碗形"来包住苍蝇，然后想著大自然的美好，过不久，苍蝇就会复活准备：抓一只青蝇，把它放到火柴盒里，然后把火柴盒放到冷冻库里，放个10到15分钟，在把火柴盒拿出来(在冰箱里，因为非常冷的关系，苍蝇会进入冬眠，而观众的手因为有手温的关系，可以让这只苍蝇从冬眠中醒过来)(但是当你从冰箱里拿出来后，最好先放个10分钟，不然观众就要拿非常久的时间那只苍蝇才可以"复活")表演方法：当观众把苍蝇包住时，只要想进帮法多拖点时间就好了我想因该放在冰箱里也可以，只是要放比较久的时间而以小弟我还没测试过，因为实在是找不到苍蝇阿。。。。

Firstly, oscillation between events of imperial and of local interest, the anticipated diamond jubilee of Queen Victoria (born 1820, acceded 1837) and the posticipated opening of the new municipal fish market: secondly, apprehension of opposition from extreme circles on the questions of the respective visits of Their Royal Highnesses the duke and duchess of York and of His Majesty King Brian Boru: thirdly, a conflict between professional etiquette and professional emulation concerning the recent erections of the Grand Lyric Hall on Burgh Quay and the Theatre Royal in Hawkins street: fourthly, distraction resultant from compassion for Nelly Bouverist's non-intellectual, non-political, non-topical expression of countenance and concupiscence caused by Nelly Bouverist's revelations of white articles of non-intellectual, non-political, non-topical underclothing while she was in the articles: fifthly, the difficulties of the selection of appropriate music and humorous allusions from Everybody's Book of Jokes (1000 pages and a laugh in every one): sixthly, the rhymes, homophonous and cacophonous, associated with the names of the new lord mayor, Daniel Tallon, the new high sheriff, Thomas Pile and the new solicitorgeneral, Dunbar Plunket Barton.

123首先，有关皇室与当地的两档子事，歌中究竟写哪一桩，令人难以做出抉择。要么是提前描写维多利亚女王（一八二0 年出生，一八三七年即位）的六十周年大庆；要么是将新修建的市营鱼市开张典礼的日期移后。第二，深恐皇族约克公爵和公爵夫人以及布赖恩。勃鲁国王陛下分别前来访问一事，会招致来自左右两方面的反对。第三，新峻工的伯格码头区的大歌剧厅和霍金斯街的皇家剧场，存在着职业的礼仪与职业的竞争之间的矛盾。第四，由于内莉。布弗里斯特的那种非理性、非政治、不时兴的容貌会引起观众的同情；内莉。布弗里斯特身穿非理性、非政治、不时兴的白色衬衣，当她表演时一旦将衬衣袒露出来，会撩拨观众的情欲，令人担心会使观众神魂颠倒。第五，不论是挑选适当的乐曲还是从《笑话共赏集》（共一千页，每个笑话都令人捧腹）里选一些滑稽的隐喻都是困难的。第六，这首主题歌不论谐不谐音，都与新任市长大人丹尼尔。塔仑、新任行政司法长官托马斯。派尔以及新任副检察长邓巴。普伦凯特。巴顿的姓名有联系。

It has three puposes: 1 to determine the evaluation indexes of the communication effects of TV cartoon programs and the features that influence the effects;2 to establish a hypothetical causal model, including some external, internal variables and their relations; 3 to evaluate, test and modify the causa...

本研究的主要结果是：动画片的内容和观众的家庭教育状况对观众看动画片的收获有着显著的正效应，观众的收视状况对收获有较大的负效应；动画片的内容、形式对于观众对动画片的态度有着积极的直接效应；态度和收获之间的因果关系是单向的，即态度影响收获；建立的因果模型能较好地预测和评价儿童电视动画片的传播效果

When audience face these images, it is natural to invoke the memory of source images, and it is such basic memory or source images intention that produce the reaction and confrontation to Xu's works, spur his works to enter audience's habitual recognition of images, and combine thinking with image cognition to form new interpretation of images, as to highlight the dubiety of source images and to increase the possible reinterpretation of source images, but the artist's conceptual interference is not close-ended but discloses the mechanism of contemporary image reading: i.e. the interaction between image and audience, as result such works are the presence of artistic conception but the absence of artist and that artist doesn't stress the input of personal experience into the work, but looks for the methodology of image-construction and the combination of thinking methods for creating the entity of joint between image and language.

当观众面对这些图像时，很自然地唤起对原有图像的记忆，正是这种基本记忆或原图像意图的捕捉对许昌昌的作品产生了反作用和对抗，促使作品图像进入到观众的图像识别习惯中，将思考与图像认知结合，形成新的图像阐释，既是突出原图像的可疑性，又增加了对原图像的重新解释的可能性，但艺术家的观念介入并不是封闭的，而是敞开了当代图像阅读的机制：即图像与观众的互动性，这样的作品是艺术观念在场而艺术家缺席，艺术家不强调个人生活经验进入作品，而是寻求图像构成的方法论和思维方法论的结合，创造图像与语言切合的实体。

Can know from Figure 1, the growth media from a disadvantaged position the media, the strategy can go no more than two paths, one from the quadrant III Quadrant IV as the first arrival of the first I quadrant, that is, to raise the audience to reach, and then to raise the audience loyalty achieved; the second from the first quadrant III arrived by the first article I Quadrant II Quadrant, which is to raise the audience loyalty, and then raise the audience to reach to achieve.

由图1 可以知道，从一个弱势媒体成长为强势媒体，可以走的策略路径无非两条，其一由第III象限经第IV象限到达第I象限，即先提高观众到达，再提高观众忠诚来实现；其二由第III象限经第II象限到达第I象限，即先提高观众忠诚，再提高观众到达来实现。

The BBC's "Correspondent","Newsnight" and "Horizon", all current-events programmes, are watched by only half as many multichannel homes as by terrestrial-only homes. ITV's "Pop Idol" is watched by only 16% fewer. The drop in "Newsnight" viewing was 17 percentage points greater among poorer viewers than among richer ones. Soap operas, light entertainment, daytime TV, sport and lottery programmes attract a much higher proportion of poorer viewers, the corporation notes.

比如BBC的"通信者""新闻之夜""地平线"以及所有实事类节目，在装有多频道电视的用户中，这些节目的观众数量只有那些一般电视用户同类观众的一半，ITV的"平民偶像"的穷人观众比富人观众多了17个百分点，肥皂剧、轻喜剧、日间节目、体育和彩票类节目更是穷人观众的最爱。

At the same time, it produced a series of imaginings that became deeper and deeper – it was like a hypothetical point that allowed me to be completely immersed in the actual cultural background. Various human weaknesses have certain solemn and stirringly dramatic elements. In order to adapt to the basic visual experience, in order to allow the audience to easily accept and enjoy the underlying elements of the work, I intentionally left white spaces, they looked like hints in a guessing game. The viewer who understands would have a good laugh after becoming suddenly enlightened. This enables the viewer and me to have a sort of conspiratorial relationship, its meaning does not reside in the painting itself, but in the shared cultural background of myself and the audience as well as the shared attitude of such a cultural background. This makes it believable, a hidden bridge, often in a somewhat clear yet somewhat mysterious moment, two strangers who have never met are able to achieve a profound understanding, like that happiness of suddenly catching someone when playing hide and seek as a child ...

同时，阐发了一系列的联想，并使之不断地深入，它就像一个假设的点，将我置身于整个现实文化背景之中，这里人的种种缺陷带有某种悲壮成分的戏剧性，为了适应基本的视觉经验，为了使观众一目了然地接受并乐于体味作品中的潜在因素提供某种线索，我留有一些空白，它类似猜谜游戏中的启示，能使会心的观众茅塞顿开后一场哑然失笑，能使我和观众之间形成一种合谋关系，其意义不在画面本身，而在于我和观众之间存有共同的现实文化背景，以及对这种文化背景所持有的共同态度，它也就是有了可信性，就像冥冥中桥梁，常常在时而明晰时而神秘的一瞬，两个素昧平生的陌生人之间突然达到了心领神会的境地，如同儿时捉迷藏游戏中突然捉到对方时的开心……。

After the Stunt shows, BG has organized a Autograph session with Chuck and the spectator, but the session has to be cut short with the recommendation from the Police as the crowd was getting out of control and hundred of fans were pushing and shovelling despite the security and police tried to control the crowd.

当BG的摩托车特技表演时，现场的观众，反应极为激烈。估计现场的观众人数超过2万以上。表演完毕，BG赛车中心亦安排了特技车手与观众的签名会，但由于现场的观众太过热情。

The dissertation affirms that there is a process of cyclic effect and cross-remodification between the film and the audience. Provided that the audience ken is viewed as the starting point, the process can be described like this. In order to own the market by better satisfying the audience expectation ken, the film appeals to the audience aesthetic tastes and spectating psychology.

本文认为在电影和观众之间存在一个循环影响、互相改造的过程，如果把观众的期待视野作为考查这个过程的起点，那么可以这么描述这个过程：为了更多的满足观众的期待视野而拥有市场，电影是迎合观众的欣赏趣味和观影心理的。

When I said earlier that Euripides had brought the spectator on the stage in order to enable him to judge the play, I may have created the impression that the older drama had all along stood in a false relation to the spectator; and one might then be tempted to praise Euripides' radical tendency to establish a proper relationship between art work and audience as an advance upon Sophocles.

我们在上文说过，欧里庇德斯曾把观众带上舞台，同时使观众确实有能力评判戏剧；这种说法，会使人误解，以为以前悲剧艺术对观众的关系，是不正确的，也会使人贸贸然赞扬欧里庇德斯这一急进的倾向，认为他建立了艺术作品对观众的正确关系，比索福克勒斯向前迈进一步。

与观众相关的网络解释 [注：此内容来源于网络，仅供参考]

audience：观众

我更多的是用"观众"(audience)这个词,因为它能够提示我们:生活就像是一个剧场,作为一个市场营销者,你要像一个演员那样设法令观众感到满意和喜欢. 你需要让你的观众相信你是一个什么样的人,以及正在为他们提供什么.

grandstand play：(打球时旨在博得观众喝采的)花架子动作 哗众取宠的行为

grand-stand play (打球时旨在博得观众喝采的)花架子动作 哗众取宠的行为 | grandstand play (打球时旨在博得观众喝采的)花架子动作 哗众取宠的行为 | high play 输赢很大的赌博, 下大笔赌注的赌博

holdover audience：既有观众

holding power 节目(频道)凝聚力 | holdover audience 既有观众 | inherited audience 既有观众

spectator failure：使观众失败

(4) 使观众失败 (spectator failure)魔术师用某力量令观众不能做某种事. (5) 易位 (transportation)从一处消失而从别处出现. (6) 控制力 (control)魔术师用内力 (不用手) 能支配生物或死物之动作,如响钟、自动伸手等.

spectator sport：吸引许多观众的体育比赛

spectator观众 | spectator sport吸引许多观众的体育比赛 | spectre 鬼

Stay tuned, folks：请继续听,观众们

Stay in uour seats.It's all part of the show.|留在你的座位上.|这也是节目的一部分. | Stay tuned, folks|请继续听,观众们 | You don't want to move, folks|你不会想要离开的,观众们

televiewer：电视观众

viewer 观看者,观察者,电视观众 | televiewer电视观众 | reviewer评论者,书评作者,报刊评论家

underage audience：未满十八岁观众;十八岁以下观众

uncut 无须删剪;未经删剪 | underage audience 未满十八岁观众;十八岁以下观众 | underage person 未成年人士

viewer：电视观众

10.4:NOW TV(香港世界网络频道)让传统的电视观众(viewer)与Internet用户(user)变成了统称为"viewser"的一群新型电视观众. NOW TV提供线性电视节目和与电视节目同步的网上内容,viewsers可透过纵向的入门网站(vortals)深人搜寻了更多资料,

Viewership By Channel：各频道之观众人数

有线电视观众人数摘要 / SUMMARY OF CABLE TV VIEWERS | 各频道之观众人数 / Viewership By Channel 21 | 有线电视观众层面 / PROFILE OF CABLE TV VIEWERS