查询词典 narrations

In addition, poor narrations, an ignorance of incidental music and an emphasis of long shots can be seen as a common language employed in his movies.

而在电影语言上则可归纳叙事薄弱、不重视电影配乐及强调长镜头跟拍等特点，综合以上种种特质。

The product consists of multimedia data: live video and stereo sounds on the laser disk; digitized video and sounds in the QuickTime format, digitized sound narrations both in Japanese and in English, text data in both languages, computer graphics and still pictures.

产品包含多媒体数据：镭射光盘上的生动的视频和立体声； Quicktime 模式的数字化视频和声音，能够以日语和英语两种语言进行叙述的数字化音频信号，各种语言的文本信号，计算机图表以及图像。

It should not be taught that these three chapters do not contain true narrations of facts, but only fables derived from the mythologies and cosmogonies of earlier peoples, purged of the polytheistic errors and accommodated to monotheism; or allegories and symbols, with no objective reality, set forth in the guise of history to inculcate religious and philosophical truths; or, finally, legends partly historical and partly fictitious put together for instruction and edification.

它不应该告诉我们，这三个章节，不包含真实的叙述事实，但只有寓言来自神话和cosmogonies以前的人民，整肃的polytheistic错误和安置到一神教；或寓言和符号，没有客观现实，在所列的幌子历史灌输宗教和哲学的真理；或，最后，传说中的部分历史和虚构的部分放在一起，为指导和启迪。

Topics of "talk on Wuhan" are so ingenuity that includes a plum blossom, a bowl of hot dry noodles, a pot of lotus root and a cattail leaf fan such top ten regionalist representations in Wuhan. Ten players＇affectionate narrations deeply touched the hearts of the judges and spectators at the scene.

漫话武汉部分的题目也别出心裁，分别是：一朵梅花、一碗热干面、一罐藕汤、一把蒲扇等十个极具武汉地方文化特色的代表性事物，十位选手讲解起来充满着对武汉浓浓的深情，也感动了现场评委和观众。

Technique development, basic facilities improvement and cost decline make "globalization" communication possible. 4. Globalization of communication technique aggravates the "unfairness" of international communication and leads to its different layers, classes and unbalanced distribution. 5. The end of "cold war" deconstructs the opposite between the East and the West, but not ends the difference between the South and the North and the "civilization conflict". 6. The population redistribution makes the traditional nations and countries in the relevant areas unstable and influences the original national cultural identity. 7."Globalization" communication deepens the alertness of national elite intellectuals, which makes them strengthen their sense of mission to keep and guard the spiritual home of national traditional culture (including traditional belief, value, cultural pattern and so on) that will be possibly subverted and maliciously remade. 8. The combination of "direction" and "strategy", or the speciousness makes big trans-national media corporations sweep away all obstacles and occupy the markets in the developing countries, in which have appeared the phenomenon of "narrations of traditional cultures tending to similarities". 9."Global village": myth or reality? 10. The difference of culture and ideology often causes the different understanding and value judgement to the contents of trans-national communication.

第一部分将中国国家电视文化安全问题放到"全球化"的大背景中加以考量，分别从以下18个维度展开论述：1、全球化语境与我们的抉择；2、与"全球化"同样历史悠久的"国际传播"；3、技术的进步和相关基础设施的广泛建立并不断完善以及使用成本的持续下降，使得"全球化"传播成了可能；4、传播技术的全球化，加剧了国际传播的"不平等"，导致了国际传播的层级性和不均衡分布；5、"冷战"的终结解构了东西对立，但却并未终结南北差异和"文明的冲突"；6、人口的重新分布使得相关区域的传统意义上的民族国家面临潜在的不稳定，并有可能影响到原来各个国家已经定型的民族文化认同；7、"全球化"传播加深了民族国家精英知识分子的戒心，"守望民族传统文化的精神家园"的使命感使得他们开始关注核心的"传统文化"（具体包括传统的信仰、价值观、文化模式等）的有可能被颠覆或被恶意改造；8、"方向"与"策略"的有机结合，使得大型跨国传媒公司所向披靡，在发展中国家屡屡得手，很多国家出现了"祖母的同质化"现象；9、"地球村"：神话还是现实？

The second part includes Chapters from Three to Six. In this part, I review the correlations between economy and tax. including the narrations on the relationships of tax allowance, division and growth, structure, and their characters, potential problems.

第二部分包括3到6章，是对经济税收关联关系的全面论述，包括对总量关联关系、分量关联关系、增长关联关系和结构关联关系的特征和存在的问题的分析。

Apart from the main plot of the children's homecoming, a more interesting and historical subplot makes the feminist tonality of the two novels much more obvious—hidden in the narrations, conversations and sometimes memories are the scraps of the lives of Abigail Tillerman and Liza Tillerman (respectively Dicey's grandmother and mother).

而小说的女性主义基调则更明显的体现在一个隐匿的次要情节中——两部小说的叙述、对话、和人物回忆中零零散散地撒落着戴西的母亲和祖母两代女性的生活遭遇，从三代女性生活的不同时代、各自相异却息息相关的生活经历中，我们可以看出她们女性意识的变迁。

The narrative ways of Can Xue's novels are unique ,usually bringing forth her fantastic, mysterious, bleak and grotesque wasteland world with nightmarish images, dreamlike narrations, unstrung minds on personalities, nauseous living circumstances and nightmarish interpersonal relationships, and expressing her struggle to the reality ,her deep concern and profound suspicion on the individual's existing plight with them.

以前生活的特殊经历对残雪今后的文学创作产生了深刻而特殊的影响，在残雪的文字里总是透着1种独特的神经质和力度。

In her works, abstract and concrete were two irrelevant narrations: one of them was an illusional reality that wasn't existed but a symbol of experience and memory; the other was the incarnation of oneself that was stepping out of deep inside and looking for destination from unknown.

在她的画中，抽象与具象像是互不相干的两种叙事，一个是梦幻化的现实，它不像真实的存在，而是一个符号，对接于经验与记忆；一个是自我的化身，从心底的深处走来，从无所归宿中寻找归宿。

It should not be taught that these three chapters do not contain true narrations of facts, but only fables derived from the mythologies and cosmogonies of earlier peoples, purged of the polytheistic errors and accommodated to monotheism; or allegories and symbols, with no objective reality, set forth in the guise of history to inculcate religious and philosophical truths; or, finally, legends partly historical and partly fictitious put together for instruction and edification.

它不应该告诉我们，这三个章节不包含真正述的事实，但只有寓言源自神话和cosmogonies早先人民，清除错误的多神教和安置到一神教；或寓言和象徵，没有任何客观现实，中所列的幌子历史灌输宗教和哲学的真理；或最后，传说是虚构的历史和部分提出的指导和启发。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。