查询词典 stone-faced

The first Harry Potter movie Harry Potter and the Philosopher's Stone (Harry Potter and the Sorcerer's Stone in the United States) released in theatres in the United Kingdom, United States, and Canada.

2001年的今天，首部哈利·波特电影《哈利·波特与魔法石》在英国、美国与加拿大的电影院中上映。

Shelf stone is not as long as the micro-everything is good, but of course, should be quality, color, shape of the water stone three factors fully with, but also and must have a sense of weight than larger stones as well as the lack of a sense of power could add a better shape .

博古架的石不是只要微型什么都好，而当然应该把质、色、形的水石之三因素充分具有，又且必须具备比大型石缺乏重量感乃至力量感的方面可以补充的更好地形态。

The surface of stone conservation agent: not available for stone processing underside protection, protective agent, generally have a water-repellent effect.

、表面石材养护剂：不能用于石材底面防护处理的防护剂，一般都具有憎水效果。

The fury and cruelty of this battle is quite revealed in the figure's complexion and body, or we say that to create these faces and bodies, Yin retrospected the genealogy from Goya to Francis Bacon, including many expressionists, such as Van Gogh, Munck, Oskar Kokoschka. All these artists painted 'anxious people', their brush touches looked intense and sensitive, their paints gave a horrible sense of solidity. The faces and bodies they painted are distorted and twitched under the burden of mental nightmare, so the organs are deformed, or even blurred; in 'Myth', the mental nightmare is incarnated as a stone, a battle between man and stones. Therefore, the deformed and distorted bodies look more vivid, when man strives to raise up a stone, all his muscles and expression are in an intense condition.

这种搏斗的激烈与残酷也充分表露画中人的表情和肌体之中，不妨说，在对这些面孔和身躯的塑造中，尹朝阳回顾了一个从戈雅到弗朗西斯·培根的谱系，其中应该包括了众多的表现主义者们，例如凡高、蒙克、奥斯卡·科柯施卡，所有这些画家都绘制了&焦虑的人&，他们的笔触显得激烈而敏感，颜料有一种可怕的实体感，他们所绘制的人物面孔和身躯，都具有精神梦魇的重负之下引发出的扭曲和抽搐感，器官因此而变形，甚至模糊不清；在《神话》之中，精神梦魇具化成了石头，具化成了人与石头之间的搏斗，人体的扭曲和变形的理由因此来得更为具体，当人奋力地举起一块石头时，他全身的肌肉和表情都自然地处在极度紧张的状态之中。

The 'arrival' of Sisyphus means that he has to employ 'pathetic fallacy' to personify the stone as signifying man's desire and mental burden – the stone lying at the roadside has been changed and elevated to a symbolic level, which incorporates the myth with heroic spirit and becomes the objective equivalent to that of desire, anxiety, and pressure. In essence, the physical features are drowned and from between to express the natural physical features or the ideas, he chooses the latter. This means that there is disjoint between what originally moved him and what he would like to express, but he is acutely aware of it – the 'danger of illustration'. We can see that these series of paintings are finally presented to us, the physical features of the objects still remains and are expressed to some extent. Among them some directly depict the stones in their own part about their pleats and points, desolateness and heaviness; at the meantime, nobody appears in the pictures.

西西弗斯的&到来&，意味着他不得不采用感情误置的方式，将石头进行拟人化的处理，用以指称人的欲望和精神负担——那块路边的石头已经不复它本来的面目，它被提升到一个象征的位置上，与神话和英雄的精神题旨迅速结合在一起，成为人性之中欲望、焦虑、压力等情感的客观对应物，从本质上来说，物自身的特性被淹没了，在表现物的自然特性和表现理念这两者之间，他选择了后者，这意味着，在感动他的最初事实与他要表现的事实之间就有了一种脱节，但他敏感地意识到了这种脱节，这种&图解的危险&，我们可以看到，当这组画最终呈现在我们面前的时候，物的自然特性得到了很大程度的挽留和表现，其中有一些画作直接描绘了岩石本身，它本身的褶皱和棱角、苍凉和沉重，同时，并没有人出现在这样的画面上。

Books of rubbings from stone inscriptions: books of rubbings from stone inscriptions of the eras before the Yuan Dynasty, whole pieces of rubbings of the Ming Dynasty and rare books of rubbings, de luxe editions of first rubbings, books of rubbings of the Qing Dynasty or of the modern times that the originals are important and have already been lost, process copies of exquisite rubbings of the Ming and Qing dynasties, books of rubbings that have important prefaces and postscripts by famous persons of Qing Dynasty and before.

二十一、碑帖拓本元代以前的碑帖拓本；明代整张拓片和罕见的拓本；初拓精本；原物重要且已佚失，拓本流传极少的清代或近代拓本；明清时期精拓套帖；清代及清代以前有历代名家重要题跋的拓本。

She said. it does not know wheter it's in a garden or not. eternity and stone are mother and danghther. it is you who are getting ald. the stone is only sleeping.

她说， 这个石头还不知道它自己是不时在花园里，永生和石头是母子关系，你会老，石头只会睡觉。

At the point of separation of the two water-conduits of the Grand-Hurleur, he deciphered upon a projecting stone the date of 1550; this stone indicated the limits where Philibert Delorme, charged by Henri II.

大家认为在很多地方，主要在法院下面，发现了建造在沟渠中的古老地牢的秘室。

FangYan scenic resort and historic sites,"No.1 mountain in easten ZheJiang", lies in east of YongKang city,which bears the character of steep peak,strange stone,wonderful cave,beautiful waterfall and quiet valley,and the position advantage of "start from central FangYan,travel all eastern ZheJiang";With breathtaking perilous peak,cliff and wonderful natural stone sculptures,known for grandeur,wonder,sheerness and danger,it belongs to first-section important scenic resort and historic sites in ZheJiang,top 10 beautiful scenery garden in ZheJiang and fifth-section national important scenic resort and historic sites.

浙东第一山&方岩风景名胜区位于永康市东部，具有峰险、石怪、洞奇、瀑美、谷幽的特色；有&方岩居中，游遍浙东的区位优势；有惊心动魄的险峰绝壁和鬼斧神工的天然石雕群，以雄奇峻险著称，是浙江省首批重点风景名胜区，是浙江十佳美景乐园，是第五批国家重点风景名胜区。06年共接待国际游客3.34万人，国内旅游者192万人次，旅游收入达11.46亿元。

We have the following to the home of the Monkey King Shuilian Dong, Shui Liandong water hole like Tang Ao, clear spring linked to come, hard to Love Will Tear Us Apart, career hole sewing little bit of water falling, like Crystal Ock, in order to string into a curtain, sweet and delicious, we had I will, you can taste, to ensure that there will be a feeling that we can look forward and see a lot of stone, such as Shuilian Dong, and so on Lingquan Inscription, we go further, the "Shenquan Helprin,""High Mountain and Flowing Water" 2 Schleswig, is a well-known craftsmen in the Ming Dynasty under the hand-written and significant Cao moment, momentum Amorous deep-hung, also on the west side of a Yubei, above which the "heart of the stone hut and India" are two words for the two Emperor Daoguang Governor Jiang Tao Shu personally wrote.

下面我们到孙悟空的老家水帘洞去，水帘洞洞水宛如堂奥，清泉纷挂，难分天上人间，洞口涯缝滴水点点坠落，恰似水晶玉珠，串以成帘，而且甘甜可口，大家过一会，可以品尝一下，保证会有一番感觉，大家可以向前看，会看到很多石刻，如水帘洞，灵泉等题刻，大家再往上看，&神泉普润&，&高山流水&二块石勒，是明代著名工匠根据曹显手书而刻，气势雄深豪放，西侧还有一道御碑，这上面的&印心石屋&四个字是道光帝为两江总督陶澍亲笔题写。

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。