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Through the static analysis, we think that traditional power is a protogenetic power; Tibetan Buddhism is a peculiar religion form that Indian Buddhism blended into the indigenous culture of Tibetan, it has doctrine, sandhana, ceremony and so on, and forms the religion power of worshipping living Buddha as base. The state power forms in the patriarchal clan system society, but it is thought political coercive power, even violence in the XunHua Tibetan area.

通过静态的分析,我们认为传统部落权力依靠循化藏区内对传统部落制度的文化价值认同的惯性得以维持和延续,是一种原生的权力形态;藏传佛教是印度佛教融入到藏族本土文化之中形成的一种独特的宗教形态,具有教义、修行到仪轨等一整套神秘主义的色彩和强化宗教认同的神圣化的意识形态,由此形成了以活佛崇拜为基础的宗教权力;王朝国家权力形成于以汉族为主体的宗法社会之中,它的强制力的一面依靠传统的宗法制度而被塑造成具有神权色彩的政治权威,然而在循化藏区由于文化认同的关系,王朝国家的政治权威被还原为政治强制力乃至于暴力。

First, to take ideology as a weapon was the starting point of the revolutionary drama-"the Left Drama"while to pay attention to human and the conflict between human and the society, which led to the probation of the connotation of the conflict consciously was the core of sub-current realism. Second, the main current realism had a strong revolutionary"proletariat"aim and political sense-objective sense while the sub-current realism focused on people and setting up characters. Third the main current realism laid too much emphasis on the sense of mission of its time which led to the tendency of formulizing and generalizing while the sub-current realism paid attention to the firm objectivity and to imitate life as their aesthetic ideal, and as a result the sub-current realism produced vigorous works. CHAPTER 4 Realistic Chinese modern drama experienced a hard and winding way of development. It was even worse after the People Republic of China was established.

本章还从三个基本方面入手,论述了主流的现实主义与非主流的现实主义内质的差异与不同的发展趋向,即作为一种武器的思想是主流的革命现实主义中&左翼戏剧&的出发点,与注重人与命运、人与现实的冲突,从而自觉追求冲突内涵的挖掘是非主流现实主义的核心;主流的革命现实主义中&普罗列塔利亚式&强烈的革命目的&目的意识论&与非主流现实主义的倾心于人物、注重人物塑造的审美原则;主流的革命现实主义所强调的时代使命感而产生的公式化、概念化倾向与非主流的现实主义所注重的客观性、以摹仿生活真实为审美理想而产生的具有生命力的话剧剧作。

Fiske drawed a analogy between modern mass media and the bard of Middle Ages, then, pointed out that mass media has a function which moulds collective culture. Under the influence of Gramscis's theory of """" hegemony"""", he thinks that media text is open space with diverse meaning and regards media text as popular producerly text through using the concept of """"open/ciosed"""" text of Eco and """"writerly/readerly"""" text of Barthes. On the basis of inheriting the theory of """"encoding and decoding"""" of Hall, he also absorbs the theory of """"resisting"""" of Decerteacc. Then, he thinks that audience don't simply passively absorb while contacting media, but have a kind of strong positive initiative, can """"produce"""" and """"consume"""" the meaning from the text according to their own demand.

费斯克将现代的大众传媒与中世纪的&吟游诗人&进行类比,指出大众传媒具有塑造集体文化的功能;在葛兰西文化霸权理论的影响下,他将媒介文本视为一个意义开放的空间,并借鉴艾科的&开放式/封闭式&文本及巴特的&作者式/读者式&文本概念,进一步将媒介文本界定为一种&大众的生产者式文本&;他在继承霍尔编码/解码理论的基础上,又吸收了德塞图的&抵抗理论&,认为受众在接触媒介时不是一味消极被动的&吸收&,而是具有一种强烈的积极主动性,能够按照自己的需求从文本中&生产&和&消费&意义。

Moreover, it can avoid effectively the protruding ears , asymmetrically curling folding ears and deformed ears caused by long-time squeeze when infant sleep sideways and ensure infant's tender ears and skull of being squeezed evenly , especially when infant sleep sideways , along with the head turning, ears fall in the guarding ear hole accurately, thus avoid the ears curling up forwards and suffering from distortion ,protect infant's ear cartilage , let infant enjoy pure natural sleep and has regular features and beautiful appearance since infancy.

更能有效防止宝宝侧睡,因耳朵长时间受挤压造成的扇风耳,不对称蜷折耳和变形耳,确保宝宝软嫩的头骨及耳朵受压均匀,特别是当宝宝向左向右侧睡时,随着头部的转动,耳朵巧妙地落在护耳穴中,从而避免了耳朵向前蜷折而受损变形,使宝宝的耳朵脆骨得到保护,让孩子享受纯净自然的睡眠环境,从小塑造五官端正,容貌美观。为人生道路起点奠定良好的基础。本品附有外套,材质为:经过杀菌除螨处理的100%纯棉天鹅绒鹅绒或高密度高弹氨纶。

The author offers a clarifying analysis of the two closelyrelated elements involved in translation — language and culture, with emphasis on the following points: 1 Language and culture cannot exist without each other, and languages not only represent elements of culture, they also serve to model culture; and 2 as culture normally changes faster than language, the meaning of a word must be determined by both the syntagmatic contexts and the cultural contexts.

论文作者对翻译过程中涉及的语言与文化这两个密切相关的因素提出了中肯的分析,包括语言与文化的关系和语言与文化意义的表现,作者强调:1)语言与文化不可能脱离另一方面而单独存在;2)语言不仅反映文化,同时也塑造文化;3)由于文化通常比语言的变化速度快,因而一个词语意义的确定要取决于句法结构和文化背景两方面

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