查询词典 symbolic

As a useful tool for symbolic approach, automatic differentiations are applied.

讨论了各种灵敏度分析方法，自动微分被作为一种符号化方法的有用工具引入。

Chapter Two is about the history of embroidery including the folk embroidery and the imperial embroidery with its' embroiderers, and symbolic culture of embroidery. Chapter Three is about the rising of Zhenhu embroidery and it's relations with Zhenhu embroiderers, including leaving the soil to acknowledge the masters as their teachers, then they establish shops in the town. Chapter Four is about the producing, dealings and expanding the market of embroidery, including how to produce, transport, sell the embroidery concretely and expand the embroidery market.

第一章绪论介绍了论文的选题由来、意义和写作方法；第二章是关于苏绣的历史考察，介绍苏绣由&民间绣&向&闺阁绣&再到&宫廷绣&的历史演变及其文化象征意义；第三章是绣女与镇湖刺绣业的兴起，介绍镇湖绣女从土地上走出来拜师学艺，再到镇上开店的经过；第四章是刺绣的生产、交易和市场的扩张，介绍绣品具体的加工、运输、销售，以及绣女开拓市场的整个过程；第五章是绣女的角色转换与社会分层，介绍开店绣女的身份转变及由农到&非农&的适应过程；第六章是绣女的生活世界，介绍绣女在刺绣工作之外的家庭生活、社会活动以及思想观念的变化。

Folklorists have long known that people use stories to both teach and resist tradition, whatever their culture. Verbal art (Bauman, 1977) and performance theory (Goffman, 1959; Turner, 1986) are terms used in anthropology and sociology to describe the symbolic features of storytelling.

故事是人类的基本现象之一，民俗学家早就指出不同文化的人们都在利用故事来传承或抵制传统，语言艺术（ Bauman， 1977）和表演理论(Goffman， 1959； Turner， 1986)是在人类学和社会学中用来描述讲故事的符号性特点的二个术语。

This play on words was probably quite deliberate, highlighting the symbolic link between the two ideas.

这文字游戏很可能是故意的，突出了两个概念之间的联系的象征。

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。

Verses. Liu Ling also became the symbolic figure of naughtiness,"passivity" and noncooperation.

最有名的记载是说他&常乘鹿车，揣一壶酒，使人荷锸随之，云：'死便掘地以埋'&。

As a consequence of an important theorem of algebraic topology, the invariants constructed by those diversity ways can be considered as identified via their unique isomorphisms. This concludes that the procedure of invariant construction gains a virtue of the model presented in this paper as being unrelated to whether there exists a symbolic represantation of images.

根据代数拓扑的重要定理，这些不同的构造方法所得的不变量在同构意义下是等价的，因此我们推论这种不变量的构造过程与图象是否有符号表示无关。

It is a level very hard to achieve, but with his long commitment to traditional Chinese philosophy and arts, ZHONG has achieved his new level of painting over the past years---- symbolic and expressive, free and magnificent. With jujutsu, acrobatics and other social subjects as his painting motifs, he has created, through "imaginative reconstruction" and "meaningless expression", many a coloring image combining fantasy and reality, i.e. many a painting of what he terms the "trace and image".

许多年来，钟孺乾把目光和心力投向尚虚与表意的中国哲学和文艺传统，取柔术杂技为母题，并与社会万象相联系，通过&想象性重构&和&无意味表达&，创造出&幻想&与&现实&叠合的图景，同时让笔彩与形象化生一体，弥漫成一种他之所谓的&迹象&，从而达成一种兼具象征性和表现力的、自在而恢宏的境界。

Finally, we offer a method to reduce shift communication. In chapter 5, we invent a method based on linear inequalities representation to perform communication optimization and code generation. This method eliminate the restrictions on processable program placed by RSD based method used by RICE Fortran D Compiler or Symbolic Set based method used by PARADIGM Compiler.

第五章提出了一种以线性不等式组作为工具的更加实用化的通讯优化和结点代码生成方法，该方法克服了RICE大学实现FortranD编译器使用的基于规则段描述子的方法以及PARADIGM编译器使用的基于符号集的方法对输入程序的诸多限制，避免了复杂的规则段运算和符号集运算及其造成的无效性，拓宽了可处理的程序类，增强了编译器的处理能力。

In this paper,we proved that on one-sided symbolic space, model shift map is topologically conjugate with the traditional shift map.

本文证明：拟移位映射和移位映射拓扑共轭，从而揭示出拟移位映射是移位映射的一个重要的拓扑共轭系统。

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。