查询词典 be contemporary with

Be in " the autumn of new York " in the occasion with a lot of moving warmth, concern with the kitchen almost: Enter villa when the heroine, there is partition almost inside whole house, look, kitchen of sitting room bedroom all stops eye ground, the ambry with contemporary extremely strong sense deserves to go up tremendous central island and mensal chair, become in penetrating a space most a scenery that punch a hole...

在《纽约的秋天》里很多温馨动人的场面，几乎都和厨房有关：当女主人公步入别墅，整个屋内几乎没有隔断，一眼望去，客厅卧室厨房都尽收眼底，现代感极强的橱柜配上巨大的中心岛和餐桌椅，成为通透空间中最打眼的一道风景

City of pool of long individual plant group " two model integrated form a complete set of level of state of social " construction reforms test division, its key is to want establish to span the strategic train of thought that type and intensive change development, with the technology innovation, system innovation and social innovation give priority to grasper, make pool of long individual plant city of especially big core, contemporary " of "3+5" of pool of construction long individual plant two model social " city group belt, form south with Guangzhou, north and Wuhan, on the west with Chongqing, east be opposite accordingly with Shanghai, can drive mid economy of Hunan economy and even our country to span the new-style industrialization that type develops is metropolitan area, develop countrywide economy the action of growth pole.

长株潭城市群"两型社会"建设国家级综合配套改革试验区，其关键是要确立跨越式和集约化发展的战略思路，以技术创新、制度创新和社会创新为主抓手，打造长株潭特大核心城，建设长株潭"3+5"现代"两型社会"城市群带，形成南和广州、北和武汉、西和重庆、东和上海相应对的、能带动湖南经济乃至我国中部经济跨越式发展的新型工业化大都市区，发挥全国经济增长极的功能。

Be it poetic experience of certain events or fervent expression of mysterious existence, his works are filled with mysteriousness and passionateness of living creatures, and with in-depth thoughts behind the romantic and magnificent physical appearance, which not only represents contemporary art trends and aesthetic experience, but also well accords with the tradition of Chinese culture, in particular, the romantic Chu-sao culture in the pre-Qin period---- an ancient regional culture which he is related to by birth.

无论是对情境的的诗性体验还是对神秘存在的激情表达，他的作品总是充满着生命和精灵交织的神秘与热烈，在浪漫璀璨的外表下潜藏着厚重的思虑，这不仅与当代艺术主题和审美经验相映照，而且与中国文化传统，尤其是具有浪漫抒情气质的先秦"楚骚"文化的脉络相契合，后者显示了他的出生地的水土渊源。

Area of contemporary agriculture garden holds to Shanghai grandson bridge the Pudong of base oneself upon, tenet that faces whole nation of Shanghai, service, change with factory of armed of modern science and technology, establishment changes agriculture to be a foundation, with high-tech biology project and establishment agriculture relevant produce machines course of study to be dominant, less than foreign trade is ligament, go produce add sell an organic whole, farming division to swim agricultural industrialization road of union, play production sets an example, education of sightseeing of promotion radiate, travel, popular science and exit are achieved collect 5 big functions, implementation society, zoology, economic benefits 3 unified.

2006年6月12日，胡锦涛总书记亲临园区考察并作指示：建设社会主义新农村，最重要的是发展农业和农村经济，发展农业和农村经济必须依靠科技进步和创新，努力在农业科技上取得新突破，加快建设现代农业。我公司09年拟招收园艺蔬菜和食品质量与安全专业的应届大学本科或硕士研究生毕业生，生源分别是江苏、四川、海南、内蒙古。食品质量与安全只招收一名上海籍学生，主要做农残检测，其他生源各招1---2名。希望招到的学生先在我公司实习，并完成毕业论文，毕业后择优录取，学生和我单位作双向选择，然后签订劳动合同。

Therefore, this research is based on issues of how come the city with arts would be, and surveys deeply of creating special atmosphere by some simple but designative ways combining with the concept of contemporary arts. For every street in a city, create its own unique rhythmical image and to decrease the coldness and loneliness of the city. Cities with art works may enrich our lives and also gives us inspiration of thought.

因此本研究开始思考如何将艺术融合在城市之中以增加城市生活的趣味，并深入地去讨论如何利用一些简单的手法、一些设计的巧思，一种结合了当代艺术概念的空间操作，去创造出一些特殊的城市氛围，利用这些氛围为我们的街道、这个城市创造出特有的韵律感，来改善这个城市的冷漠孤寂。

Be it poetic experience of certain events or fervent expression of mysterious existence, his works are filled with mysteriousness and passionateness of living creatures, and with in-depth thoughts behind the romantic and magnificent physical appearance, which not only represents contemporary art trends and aesthetic experience, but also well accords with the tradition of Chinese culture, in particular, the romantic Chu-sao culture in the pre-Qin period---- an ancient regional culture which he is related to by birth.

无论是对情境的的诗性体验还是对神秘存在的激情表达，他的作品总是充满着生命和精灵交织的神秘与热烈，在浪漫璀璨的外表下潜藏着厚重的思虑，这不仅与当代艺术主题和审美经验相映照，而且与中国文化传统，尤其是具有浪漫抒情气质的先秦&楚骚&文化的脉络相契合，后者显示了他的出生地的水土渊源。

The academic basis that will expand economy of blame state ownership energetically is contacted with the underdeveloped photograph of established productivity only, the tide that actual state and social productivity develop the productivity that does not accord with economy of contemporary blame state ownership already, also be restricted and manacled our country to be not the rapid development of state ownership economy.

将大力发展非公有制经济的理论依据只与既定生产力的不发达相联系，既不符合当代非公有制经济的生产力实际状况和社会生产力发展的潮流，也限制和束缚了我国非公有制经济的快速发展。

One thing is sure, is that they do not support or even oppose the idea of substituting art, and associated with this is that they recognize the value or the value added of the fine arts. They are not esthetes, but firmly believe that art must have an aesthetic quality--in their eyes all the so-called ideas, even the most valuable concepts of art must be achieved through the aesthetic of the intermediary, even though they may oppose the concept of contemporary art's tendency to suppress the technology, but they do not flaunt technological supremacy. They acknowledge and accept the meaning of art, but they also convey the concept of artistic value in way they try to select a relatively moderate path, neutral, and not too left or right, but also East and West, ancient and modern, not avant-garde nor stale, either extremes must be avoided. And to be able to do this, we've reached the limits of a teacher's role, going beyond these expectations is not very realistic, as the less moderate we get, the further we are from a teacher's identity.

有一点可以肯定，那就是他们不赞成甚至反对以观念代替艺术，与此相关联的是他们承认甚至看重技术对於艺术的价值，他们都不是唯美主义者，但坚信审美是艺术必须具备的品质，在他们眼里一切所谓观念，即使是最有价值的观念在艺术中都必须经由审美的中介加以实现，虽然他们反对观念至上，反对当代艺术中蔑视以至讨伐技术的倾向，但他们并不标榜技术至上；他们承认并接受观念对於艺术的意义，但他们同时看重传达观念的方式，他们试图选择的是一条相对中庸的道路，不偏不倚，不左不右，亦中亦西，有古有今，前卫亦无不可，极端则须避免，能够做到这些，已经是作为教师的角色选择的极限，超越这些范畴的期待已经不很现实了，而远离这些范畴的选择又似乎有违於教师的身份。

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。

China contemporary appear in the art of relevant draw lessons from of landscape picture with transfer, probably Be not and only proceed from turning respond to of slogan and inspiration to the oil painting race, also not is to tradition Chinese painting art of reform build sex, their emergence probably is according to 1 kind from society sense of vision experience cause of reality pass shine on with with oneself consciousness appearance in the mind background relevant of heart claim, they just use landscape painting concept and the outer shell of appearance and arouse reality disaster within society consciousness with refer to the content of humanities spirit.

中国当代艺术中出现的有关山水图像的借鉴和挪用，可能并非仅仅是出于对油画民族化口号的响应和感召，也并非是对传统国画艺术的革新造性，它们的出现或许是基于一种由社会视觉经验所引起的现实关照和与自身意识形态心里背景有关的内心诉求，它们只是借用山水画概念和形态的外壳，去唤起现实社会中的忧患意识和指涉人文精神的内涵。

As she looked at Warrington's manly face, and dark, melancholy eyes, she had settled in her mind that he must have been the victim of an unhappy attachment.

每逢看到沃林顿那刚毅的脸，那乌黑、忧郁的眼睛，她便会相信，他一定作过不幸的爱情的受害者。

Maybe they'll disappear into a pothole.

也许他们将在壶穴里消失