查询词典 audience

The pharaoh then walks to the "audience chamber" to hold his daily meetings.

然后法老要预备工作了，他信步走向"听政厅"（"audience chamber"），接见大臣，主持会议，这是每天要都进行的工作。

The drama programs would hold the audience because of the story lines and lost them because the improper plot development or arrangement. The news broadcasting kept or lost the audience as well because of the fairness and the neutrality of report. Commercial advertisements broadcasting was the critical moment, if the program attraction was strong enough, the audience might return, otherwise, staying in different channels became possible.

戏剧节目会因剧情留住阅听人眼光，但也会因为剧情发展或编排不当而流失阅听人；新闻播报则因报导公正、中立与否而吸引或失去阅听人；广告是转台的关键时刻，若节目吸引力强，会再转回，否则可能转看别台。

The transformation of Communicant Center to Audience Center is a basic trend of development of the mass communication in the West up to now. Since the beginning of 1980s, the seeds of Audience Center have appeared to some extent in mass communication in China; however, a complete Audience Center has not been found so far.

由传者中心向受众中心转移，是目前为止西方大众传播事业发展的基本趋势。80年代以来，我国大众传播事业亦出现一定程度上的受众中心之萌芽，然迄今为止，真正的受众中心远未确立。

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。

The pragmatic presupposition set by the expresser is within the scope of cognitive context of the expresser, but not necessarily in that of the audience, also the pragmatic presupposition understood by the audience is within the scope of the cognitive context of the audience, but not necessarily in that of the expresser.

发话人所设置的语用预设都在他自己的认知语境范围内，但不一定在受话人的认知语境范围内；受话人所理解的语用预设都在他自己的认知语境范围内，但不一定在发话人的认知语境范围内。

The chapter of audience defines audience from the angle of aesthetic and considers audience as the finisher of performance.

从审美的角度来定义观众概念，审美的核心在于"审"，指出观众是表演的最终完成者。

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。

At the half-market stage, media begins to regard the audience, the audience a certain extent affected media, but inconclusively, the audience strategy is service and pleased.

在半市场化阶段，传媒开始重视受众，受众的自觉意以、主体意识开始萌动，对传媒的发展有一定影响，但还不至于决定传媒的生死，这个时期传媒的受众策略足一种服务型、满足型的。

Assume that medium A has an audience of 100.000persons and medium B, 90.000, if 40.000 of the persons exposed to medium B are also members of A' s audience, then buying the two media yields an unduplicated audience of 150.000---not 190.000, duplication leads to frequency, which is the number of times the target audience is exposed to a message within a given tome period--- usually four weeks.

假定一个具有中等及中等100.000persons观众乙、90.000、如果人接触了40.000乙同属一个中型的观众然后买了两产量媒体地表观众---不150.000190.000，导致重复频率这是多少次接触对象是一个特定的讯息--通常四星期内托。

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。

The absorption and distribution of chromium were studied in ryeusing nutrient culture technique and pot experiment.

采用不同浓度K2CrO4(0，0.4，0.8和1.2 mmol/L)的Hoagland营养液处理黑麦幼苗，测定铬在黑麦体内的亚细胞分布、铬化学形态及不同部位的积累。

By analyzing theory foundation of mathematical morphology in the digital image processing, researching morphology arithmetic of the binary Image, discussing two basic forms for the least structure element: dilation and erosion.

通过分析数学形态学在图像中的理论基础，研究二值图像的形态分析算法，探讨最小结构元素的两种基本形态：膨胀和腐蚀；分析了数学形态学复杂算法的基本原理，把数学形态学的部分并行处理理念引入到家实际应用中。