奴隶

To give someidea of how de Montmorency's wealth, cultivation and connections found expression here, a portico was added in around 1550 to the castle to shelter Michelangelo's "Slaves".

让我们举个例子，来想象一下蒙莫朗西公爵所拥有的财富，品味以及与达官显贵们的关系，这座城堡大约于1550年加盖了一座柱廊用来保护米开朗基罗的作品："奴隶"。

Buying that car is placing himself into a form of peonage.

买了那车就等于把自己变成了某种形式的"奴隶"。

Here there is not Greek and Jew, circumcision and uncircumcision, barbarian, Scythian, 7 slave, free; but Christ is all and in all.

在这一点上，已没有希腊人或犹太人，受割损的或未受割损的，野蛮人、叔提雅人、奴隶、自由人的分别，而只有是一切并在一切内的基督。

Where there is neither Gentile nor Jew, circumcision nor uncircumcision, Barbarian nor Scythian, bond nor free. But Christ is all, and in all.

在这一点上，已没有希腊人或犹太人，受割损的或未受割损的，野蛮人、叔提雅人、奴隶、自由人的分别，而只有是一切并在一切内的基督。

One, such as a slave or serf, who is held in bondage.

奴隶：如奴隶或农奴等受枷锁束缚的人

Many thousands dropped out on the long and heartbreaking march, but thousands of others –farmers, apprentices, slaves, deserters from the Kuomintang ranks, workers, all the disinherited—joined in and filled the ranks.

在漫长的艰苦的征途上，有成千上万的人倒下了，可是另外又有成千上万的人——农民、学徒、奴隶。国民党逃兵、工人、一切赤贫如洗的人们——参加进来充实了行列。

Women, slaves, foreigners, and others who were not citizens of ancient Rome were forbidden from wearing the toga.

女性、奴隶、外域人还有那些不属于古罗马公民的人都被法律禁止穿着toga。

This issue in order to focus on "post-colonial criticism"(Yi Xiao-bin ,2004:64-68) for perspective, from a historical and cultural background to be, as well as the characterization of discourse analysis,"Robinson Crusoe" set up by the The sovereign state / colony, his master / slave, white / color, cultural center / edge of culture, civilization / barbarity, Christian / tribal people, such as food dualistic system of colonial discourse deconstruction, revealing the implication of colonialism in the works Awareness and to explain how the guns Robinson backed in a planned way from the language of religious belief and two of the "Friday" naked colonial culture, it lost its original cultural identity, resulting in self-identity Loss of the dilemma.

本课题着重以"后殖民主义批评"（易小斌，2004：64-68）为视角，拟从历史文化背景、人物刻画以及话语分析入手，对《鲁滨逊漂流记》中所建立起的宗主国/殖民地，奴隶主/奴隶，白种人/有色人，中心文化/边缘文化，文明/野蛮，基督教/食人部族等二元对立的殖民话语体系进行解构，揭示蕴涵在作品中的殖民主义意识，并阐释鲁滨逊如何以枪炮为后盾，有计划地从语言和宗教信仰两方面对"星期五"进行赤裸裸的文化殖民，使其丧失了原有的民族文化身份，从而造成自我身份丧失的窘境。

Connotatively it refers to very involved D/s relationships; a person who has surrendered their personal property and freedoms to another, who has become the property or chattel of their owner.

奴隶，不论是整个人，还是某一部分肢体器官，亦或是思想感情，都属于主人所有，要无条件服从主人的意愿，服侍主人的生活，生存的意义和目标就是取悦主人。

The most famous artworks by Tacca are four bronze "Slaves" that he completed for the Medici family, laying beside the foot of the Ferdinan De Medici sculpture.

达卡最著名的作品，就是为美第奇家族制作的四尊青铜《奴隶》，被安放在费迪南·德·美第奇大公雕像的脚下。

Hanna: That's over now, isn't it?

都结束了，对吗

You must be ill. You look so pale.

你一定是病了，你的脸色苍白。