查询词典 her

Beginning by suggesting that Sui Sin Far/Edith Maude Eaton (1865-1914) readily fits none of the categories recent critics have established within Chinese American literature, this essay situates her as a regionalist writer whose work demonstrates her struggle against mainstream representations of the Chinese in the late nineteenth-century American press and who achieves artistic form and a strategy for helping her readers see differently through her use of the English language in Mrs. Spring Fragrance.

本文从一开始便主张水仙花／伊顿(Sui Sin Far/Edith Maude Eaton)(1865-1914)无法纳入批评家在华裔美国文学里所建立的现成的范畴，本文赋与她地域文学作家的地位，她的作品展现出她在抗拒十九世纪晚期美国出版界对中国人的主流再现，而且她透过在《春香夫人》中英文的使用获致艺术形式及一种能帮助读者达到不同看法的策略。

And I think that I havevague remembrances of her mother agreeing with her on things, because my mother spoke to her mother, agreeing with her but saying "I just can't, please don't tell me any more".

我还模糊地记得的某些事情证实了这一点，因为我母亲曾经对姥姥说："我只是做不到，请不要告诉我更多的东西。"

He never said a great deal, nor did she give herself the trouble of talking or of listening much; but it struck her in the course of their third rencontre that he was asking some odd unconnected questions -- about her pleasure in being at Hunsford, her love of solitary walks, and her opinion of Mr.

他从来不多说话，她也懒得多讲，懒得多听；可是第三次见面的时候，他问她住在汉斯福快活不快活，问她为什么喜欢孤单单一个人散步，又问起她是不是觉得柯林斯夫妇很幸福。

So I was able to disable her and then reprogram her chip. I scrubbed her memories and altered her mission.

所以我移出她的芯片重新编程，擦洗了她的记忆和改变了她的任务。

And her sound as magnet, her big watery eyes, her pressed respire, all and all from her parts, I deeply fell in.

她磁性的声线，大大的眼睛，急促的呼吸，所有的所有，令我深深沦陷。

Prince Ippolit brought her reticule, moved to her side, and bending close over her chair, sat beside her.

伊波利特公爵把女用小提包交给她，跟在她身后走过来，又把安乐椅移到靠近她的地方，便在她身旁坐下来。

When her case drew public attention, she retracted her police report and her husband took her back.

当她的案件引起公众注意时，她收回了向警方的报案，她丈夫又将其带回家。

Her fair head dropped upon her husband's knee, her rippling yellow curls fell over her face.

她漂亮的脑袋伏在她丈夫的膝上，她波浪式的金黄头发披拂在她脸上。

Chapter 2 centres around the spiritual contents of her works. It penetrates through the skin to their core, that is, the tragic sense. Her works take the most ordinary people as characters. Unexpectable elements befall on these people, change their fate considerably. The helplessness of being fooled by destiny overshadows most of her works, leaving readers sign in vain. Then, her portrayal of characters bears a tinge of rootlessness, unsteadiness loneliness, filling the works with deep pensive mood. And finally, she exposes the ugliness of man from this covering of brilliance. Man dares not face his true being. What he shows and sees of himself tends to be his bright side. But his ugly side steels out, which gives himself a deadly blow.

第二章围绕作品的精神内蕴展开论述，侧重于由表及里的层层挖掘，悲剧意识构成王安忆作品精神内蕴的核心，其作品多写芸芸众生，在展现这些人的人生际遇时，难以预料的偶然因素总是改变着他们的命运，宿命感使作品笼罩在虚无的阴影之中，令人怅然；其次作家在写人物时，那种无根的漂泊感、孤独感，使作品有着深深的悲凉意蕴；再次就是对隐藏在绚烂表象之下的人的丑陋本质的发现，人总是无法面对自己真实的存在，看到的或表现出的总是冠冕堂皇的一面，但是那丑陋的一面总会在不经意中呈现出来，给人以毁灭的打击。

She had always lived in a beautiful bungalow 平房,and had been used to seeing many servants 仆人 who made salaams 问安;敬意 to her and called her "Missee Sahib,"and gave her her own way in everything.

她一直都住在带有走廊的漂亮平房里，而且已经习惯看到许多仆人向她行礼问安，并叫她为"小姐"，还让她为所欲为。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。