反义的

Adjectival opposites are"what they do"in texts rather than merely two static and isolated words.

也就是说，反义形容词在语篇中表现出的各种功能也应该作为反义形容词的一部分而被人们所认知。

On Antonymy in Paradigmatic Relations;2. With the development of linguistics,the research scope of antonymy and antonyms is being widened.

随着语言研究的深入，反义关系和反义词的研究视域也在拓宽，围绕形态结构、语义功能、反义聚合与语境等问题出现了不少新课题。

The traditional approach classifies antonyms into root antonyms and derivational antonyms from morphological point of view and the specific semantic features reflected in antonymy are neglected.

传统的反义关系理论以词根和派生依据，将反义词划分为词根反义词和派生反义词。这一划分标准更多着眼于词汇形态，而忽视了反义关系的具体语义特征。

An antisense expression vector of the cattleya-ACO gene, which named pBI121ACC, was constructed, and the autisense sequence was controlled by the CaMV 35S promoter. The work laid the foundations of the future transgenic research for prolonging the flowering period of the transgenic Cattleya via autisense technology.

将克隆的卡特兰ACO片段反向连接到植物表达载体pBI121中CaMV35S启动子的下游，构建了卡特兰ACO基因的反义表达载体pBI121ACC，为进一步应用反义技术培养长花期卡特兰新品种奠定了基础，也为首次应用生物技术延长卡特兰花期做出了尝试。

Methods Human hepatocarcinom cells lines were transfected with an ectogenesis p53 (Adp53) to observe the action of p53 on wnt signaling pathway by fluorescence-activated cell sorting and RT-PCR.

利用反义寡核苷酸(oligodeoxy nucleotide，ODN)将p53反义ODN导入到人肝癌HepG2(含野生型p53)和人大肠癌Lovo(含野生型p53)细胞株中，观察p53表达受阻后对Wnt通路及FrpHE、DKK-1表达的影响，以进一步明确p53的调节作用。

This chapter is static description,classified to 4 kinds : bilateral single meaning antonyms、bilateral multi-meaning antonyms、multilateral monosemantic antonyms、multilateral multivocal antonyms.

此章为静态描写，分成四类进行：双边单义的反义词语、双边多义的反义词语、多边单义的反义词语、多边多义的反义词语。

Furthermore antisense plant expression vector of this gene was constructed using the pBI121 vector, laying foundation for studies on antisense regulation of ginseng β-amyrin synthase gene.

在此基础上，利用pBI121质粒载体，构建了人参β香树素合成酶基因的反义植物表达载体，为这一基因的反义调控研究打下基础。

On the other hand, the influence of Absurd drama manifested mainly in the perspective of observing the world in later plays. Absurd drama reveals the uncertainty of the world by the skill of"simile way". Contemporary playwrights draw extensively and broadened the use of"simile way", and create the new simile symbols: anti-classic simile, anti-system simile and anti-meaning simile. At the same time they use a comprehensive simile to create a kind of sensual drama.Absurd drama also destroys the language function of traditional drama by rupture and desegregation, also tends to use "the language of no meaning," to reflect the world's essence. The contemporary generation create a physical theatre to expulse of the role of language. Another extreme is to strengthen language function thus creating a language game.

另一方面，荒诞派戏剧的影响力主要体现在后世剧作对客观世界的认知上：荒诞派通过&直喻&的手法来表现世界不确定性的本质，被后世剧作家广泛借鉴并且拓宽了直喻手法的使用，出现了反经典、反系统和反深度的直喻符号，同时另一个极端则是用剧场性的全面直喻创造了具有震撼力的感官戏剧；荒诞派通过破裂与解体的方法化解了传统戏剧的语言功能，更倾向于用&无义的语言&表达来体现世界的无义，后世剧作家在此基础上索性彻底驱逐了语言的作用从而创造了肢体戏剧，另一个极端则是强化语言功能创造了&语言游戏&。

It is not advisable to tell beginners of linguistics that the distinction between gradable antonyms and complementary antonyms is relative.

对语言学初学者讲等级反义关系和互补反义关系之间的区分是相对的，这一做法不可取。

To resolve this defect for the word polarity analysis,we confine the value of word similarity between in this paper,and enhance the word similarity computation on the basis of Liu s paper by employing sememe s depth information,the antonym and definition .

基于文本情感色彩分析的需要，把词语相似度的取值范围规定为[-1，+1]，在刘群论文的基础上，进一步考虑了义原的深度信息，并利用《知网》义原间的反义、对义关系和义原的定义信息来计算词语的相似度。

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。