察觉不出的 - 网络例句 - 英语人，englisher

The man would arrive alone shortly after dawn, pushing his cart up the road, doing it about as well as any man who could see.

天刚蒙蒙亮，瞎子就独自推着手推车上路，从推车的样子上看一点都察觉不出他是个瞎子。

Therefore, there is no change in the protein produced, and the mutation is functionally unnoticeable, or silent.

因此，生产出的蛋白质没有发生改变，该突变在功能上察觉不到，或说是沉默的。

The beautiful child understood nothing of all this, and signified it to him by imperceptible signs.

那美丽的孩子一点也不懂这是什么意思，连连用一些察觉不出的动作向他表示。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的"表现"观念的历史考察着手，归纳出西方现代"表现"观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在"表现"观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的"否定性物象"来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

For my self, not only for my obedience, but my particular genius, i do embrace it: for even that vulgar and tavern-musick, which makes one man merry, another mad, strikes in me a deep fit of devotion, and a profound contemplation of the first composer. there is something in it of divinity more than the ear discovers: it is an hieroglyphical and shadowed lesson of the whole world, and creatures of god.

至于我自己，我对上述之音乐确实服膺无已，此固与我之虔诚信仰有关，亦系我的特殊禀赋所致；甚即通常旅店之俚俗音乐，所叙不出嬉乐激切之情，尚能使我对那最初制曲人于胸臆之中顿生仰慕之忱与遥深之想；其中圣洁处有非人耳所能察觉者。

Today we can only imagine about our first teacher who blames us may only just for an unnamed case through the survival of our childhood's memory ,also,it is hard to find such a kind of feeling to describe my heart when I obtain high mark in my middle school's time,cause we will never know there are so much frustration in our future,we really miss too much mirth which should belong to us, before the boom is found,the vernal flower has been seared stealthily ,and our college's time is also fleeting within a seirous of chemic reactions,similarly ,it is difficult to remind you of some rememberable things,even if we have been moved by him at that time,what's more,and many close buddies yesterday whose silhouette is being becoming darker and darker...

现在的我们只能通过儿时残存的记忆，大概的猜出第一位批评我们的老师，可能仅仅是为了一件说不出名的小事；也很难找到一种情怀来形容中学时代取得一系列傲人成绩的心情了，因为那时的我们永远不会知道，今后的路途如此的坎坷，我们实在是错过了太多原本属于我们的欢笑，青春的花朵在我们还没有察觉到它开放时就悄悄的枯萎了；我们的大学时光也在一系列化学反应中飞逝着，很难记起一些值得记起的事情来，哪怕当时你曾经为他会心一笑；还有那么多曾经在身旁出生入死的好兄弟，他们背影也开始变的模糊起来。。。

Of course, the many spies out and about on the Internet reported that this too was a flaming subject, another example of how their airbrush programs are failing to keep pace with the bobbling about that the satellites, the Earth, and Planet X are doing these days.

当然，许多人察觉出，互联网上也报道说-------这是个带有火焰的物体。另一个例子是他们的涂改计划失败了，不能赶上近来有关卫星，地球，和行星x之事不断漏出的步伐。

However we just likes in the incredible world which the author fictionalizes places oneself in the human world, cannot realize slightly the different mark.

然而在作者通过此种手法虚构的荒诞世界中我们恍如置身于人类世界，察觉不出丝毫异迹。

The legs marked by the symmetrical curves of the robe, are straight, and the feet large, as in Pls. 46-48, but by no means clumsy or ill-proportioned.

两腿上，裳的褶子左右对称，和彩色图版第46～48图的诸像一样，尽管腿线笔直两脚巨大，但完全察觉不出粗笨或者比例不当。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的&表现&观念的历史考察着手，归纳出西方现代&表现&观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在&表现&观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的&否定性物象&来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。