查询词典 dramatic irony

His irony sometimes is humorous but sharp, when expressing various disgusting manners of the life in the small town, this performance is obvious; sometimes his irony is truly emotional: Babbitt is funny as a typical model image, but when his pursuit of freedom is destroyed by the cruel actuality, the depiction of those details are sadly; In " Arrowsmith ", when revealing the corrupt phenomenon consisting in American medical science field , his irony becomes gloomy and serious.

他的讽刺有时候是幽默而犀利的，当表现小镇生活的种种丑态时，这一点表现得尤为明显；有时候又是真实感人的，巴比特虽然被描化成滑稽可笑的中产者的典型形象，但当他追求个性自由的一点微弱的呼声被无情的现实吞没时，那些潦倒境遇的描写，却于滑稽中透出无限辛酸的味道；在《阿罗史密斯》中，当揭露美国医学界尔虞我诈、沽名钓誉的腐败现象时，这种讽刺又变得阴郁而严肃。

Thirdly, Lu Xun is undoubtedly "a man with eyes by which could see the subtle irony"-Not only could he see the subtleness of irony, but also the irony of himself, the nihil world as well as the nihility itself.

第三个方面即鲁迅无疑是一个"长着看得见反讽的眼睛的人"。他不仅看得见反讽，而且看得见自身的反讽，不仅虚无世界的一切，而且虚无这虚无本身。

The analysis of verbal irony emphasizes the dialogues between characters according to the classification of assertive, directive, commissive and expressive irony, while the analysis of situational irony puts its emphasis on two main marriages in the novel.

其中，言语反讽将主要结合小说中的人物对话，就阐述类、指令类、承诺类以及表达类来进行解析，而情景反讽则侧重于以小说中的两对主要婚姻为例分析。

Thirdly, Lu Xun is undoubtedly "a man with eyes by which could see the subtle irony"-Not only could he see the subtleness of irony, but also the irony of himself, the nihil world as well as the nihility itself.

第三个方面即鲁迅无疑是一个&长着看得见反讽的眼睛的人&。他不仅看得见反讽，而且看得见自身的反讽，不仅虚无世界的一切，而且虚无这虚无本身。

In drama works, real dramatic conflicts are always based on dramatic circumstances, so dramatic conflicts will not take place without certain circumstance.

因为戏剧性的产生正是人与情境的契合，戏剧是用情境把握人的生命运动的艺术形式，以完成表现人的这个主体任务。

Since it was set up and opened to the public, the Weihai Film and Television City has brought its advantageous function in film and TV series making into full play, it has cooperated in succession with the Juvenile Center "Clever House" dramatic group, the fairy short play "MaoMao and Harly" dramatic group,"the Sixth Studio" dramatic group of China's TV Plays Production Center, 100 Children's Songs Producing Group, SDTV "Scissors-Cloth Wrapper-Fist" Programme Group. All of these attract many visitors and programme makers. The national leaders came here to inspect for many times, even the experts of the World Tour Experts' Group came to visit it.

自建成开放以来，威海影视城充分发挥影视拍摄的功能优势，相继与中央电视台青少中心《聪明屋》剧组、百集童话短剧《毛毛和哈利》剧组，中国电视剧制作中心《第六演播室》剧组，全国百首卡拉OK少儿歌曲动画片摄制组、山东电视台《剪子、包袱、锤》栏目组在景区合作摄制节目，影视城迷人的自然风光和人文建筑景观多次搬上荧屏，吸引了无数的游客前来观光旅游，国家的有关领导人多次莅临威海影视城视察工作；世界旅游专家组的专家们也曾慕名前来，进行全面的考察。

From the exposition, we can see a myriad voices converging and noisy Carnival-Square; Surpassing the official language of all norms and bans, extensive use of Carnival Language, such as a non-verbal vulgarity , God swear,reprimand, buffoonery, slapstick humor and so on, and carnivalized genre, for example, Funny folk songs, Parody Correspondence, Manuscripts, the Noble Style Irony Simulation, Citation irony to Explain the Phrase, etc.Shaping a series of carnival-style comedy characters in the novel. Scott sets up their own story, with full advantage of the Carnival factors such as Resurrection, Mask, Changing Clothes. The novel hides a Drowning-Decrowning Structure on conceiving the whole and setting up the characters.

从论述中我们可以看到一个众声交汇、喧闹的狂欢式广场；语言也突破官方的一切规范、禁令，大量使用了民间粗俗化口语、指神赌咒、发誓、插科打诨、嬉笑怒骂等等狂欢节语言和滑稽的民间歌谣、戏仿书信、手稿、对崇高文体的讽刺性模拟、对引文讽刺性解释等等狂欢化体裁；在小说中塑造了一系列狂欢式的喜剧人物形象；司各特充分利用了狂欢节里的"复活"、"假面"、"换装"等狂欢因素来设置自己的故事情节，在小说整体构思和人物形象设置中还隐含了一种脱冕型的结构。

Narrative structure irony makes the creation of Han Dong shake off the shackles of collective words, showing the genuine and secular life; narrative morphology irony renders his works from definitiveness to possibility, from closure to openness.

叙事结构反讽使韩东的创作摆脱了集体话语的束缚，表现出生活本真、世俗的一面；叙事形态反讽又使他的作品由确定性走向可能性、由封闭性走向开放性。

In one of 'Myth' paintings, the huge stones almost occupy fully the whole surface; in contrast, the figures let down, after intense struggle, as if collapsedly, chikenlike, tiny, impotent, unreconciled and depressed, just like giving up battling with the stones. In this series of heroist mode, particularly as against with the picture surfaces in which the giantlike bodies and energy are expressed, the figures in it even look a sense of funniness – wherein we are certain that irony has been engaged in his paintings, and it can be understood as a self-irony that it is not a floppy laziness, while he indeed does not need to tighten his muscles, not to keep a zealous and single gesture for fighting, as if it seems difficult for everything to continue, and in the paintings when the heroes unpack the stones, the artist seems unpack the dream of heroes, letting alone the huge stones burning and overspreading, surrounding us, pressing us and scorching us, even running over the whole picture. It suffocates us with all these heaviness, hardness, and acuity, as registers our weak life like a paper-cut.

尹朝阳的《神话》系列里有一幅，巨大的石头几乎占满了整个画面，相比之下，画中的人经过了激烈的挣扎，松弛了下来，形将瘫软一般，渺小，无能，心有不甘而黯然神伤，俨然已经放弃了与石头的搏斗，在这个英雄主义调式的系列里，尤其是与其中表现了英雄那巨人般的体魄和能量的画面相对，这幅画中的人甚至显出了一种酸楚的滑稽感——这里，我们确知反讽已经介入了他的绘画，并且，可以理解为一种自我反讽，它并非是纨绔式的慵懒，然而，确实不再绷紧他全身的肌肉，不再保持激昂而单一的斗姿，好像一切都已经难以为继，在画中的英雄卸下了石头的同时，艺术家自己也仿佛卸下了英雄梦，任凭那巨大的石头像烈火般燃烧和蔓延，包围我们，紧紧地挤压、烤炙我们，并且溢出整个画面，它以全部的沉重、坚硬和尖锐使我们窒息，反衬出我们脆薄如剪纸般的生命。

De Man criticizes Schlegel's irony as a forever parabasis by pointing out that irony is always a self-denial process and stays with and destructs the narrative from its very beginning.

德曼批评了施莱格尔对反讽的界定即一种永远的自觉叙事基础，指出了反讽的过程始终是一个否定自我的过程，它自叙事伊始便始终如一地伴随并破坏着叙事。

According to our present broadcasting situation,the thesis proposes using new technology to update and reform the present HFC. It also suggests broadcasting using self-advantage and arranging EPON in order to win the supermarket.

论文从我国广电的现状出发，结合实际，积极倡导采用新技术更新、改造我国现有的HFC网络；倡导广电现阶段利用自身优势，部署EPON网络来赢取市场。

A new general kinetic equation was derived in which the effect of the removal of condensation water was taken into account completely, and was applied to the polyesterification kinetic study of AA/HPHP and AA/NPG. It was found that the reaction order of self-catalyzed polyesterification was not constant. For these polyesterifications, the reaction order was 2.5 at a low temperature, while 3.0 at a high temperature.

考虑缩合水的排除对反应体系的影响，用体积浓度单位推导出一个新的聚酯反应总包动力学方程，并应用到AA/HPHP和AA/NPG两个聚酯化反应的动力学研究中，研究发现，自催化聚酯反应的反应级数并不是固定值，对于AA/HPHP和AA/NPG两个聚酯化反应而言，低温时反应级数为2.5，高温时反应级数为3.0。