对应物

As a writer who rarely has a secure vision of reality and the external world, Virginia Woolf has an obvious interest in the ambiguity, suggestiveness and uncertainty of symbols, particularly as each symbol can take on different meaning for the person who looks at it, thus emphasizing the uniqueness of each individual and the distance that can exist between them, even when gazing on external and shared reality.

因为微妙的心理活动本来就是捉摸不定的，只可意会不能言传。不同的人对相同的象征，即相同的客观对应物可以有截然不同的诠释，这1特点也被伍尔夫巧妙的运用来刻画人物性格，展示人物丰富的情感世界。

These chemical shifts in the aromatic region of the resulting nucleophilic adduct 2-F were consistent with the counterparts of 9,10-dihydro-9-methoxy-9-(4-methoxyphenyl)-10-methylacridine, 17b which was proven to be the adduct of the 9-phenyl acridinium salt formed with an excess of MeOH (Figure S7 in Supporting Information).

在最终的亲核加成化合物2-F的芳香族区中的这些化学位移与9，10二氢-9-甲氧基-9-(4甲氧基苯基)-10-甲基吖啶的对应物是一致的，17b 这被证明是与过量的MeOH形成的9-苯基吖啶盐的加成化合物（支持信息中的图S7）。

This causes that different field of view has different object distant,which results in heterogenic image motion vector on the film.

画幅相机由于横向视场较大，使得每幅横向各个视场目标对应物距各异，最终导致目标像相对探测器产生了异速像移。

The largest chemical shifts were observed for the proton 1.48 ppm adjacent to the central pyridinium ring and para-protons 1.47 ppm with respect to the nitrogen of pyridinium.

在最终的亲核加成化合物2-F的芳香族区中的这些化学位移与9，10二氢-9-甲氧基-9-(4甲氧基苯基)-10-甲基吖啶的对应物是一致的，17b 这被证明是与过量的MeOH形成的9-苯基吖啶盐的加成化合物（支持信息中的图S7）。

All of those are apt to a kind of aesthetics "regarding frightfulness as beauty "、"disinterring beauty from evil".

另外在艺术方法上受法国象征派重象征、暗示的影响，喜欢通过&客观对应物&来象征、暗示自己的内心世界。

The head of the penis, the glans, is the clit's male counterpart.

龟头，是男性的阴蒂对应物。

Like their magical counterparts, these include both intentionally malefic and malfunctioning items that directly or indirectly harm a user.

类似它们的魔法对应物，这些东西可能非常危险也可能只是有故障，并且会直接或间接地伤害使用者。

Like their magical counterparts, these include bothintentionally malefic and malfunctioning items that directly orindirectly harm a user.

类似它们的魔法对应物，这些东西可能非常危险也可能只是有故障，并且会直接或间接地伤害使用者。

Lacan holds that self-formation cannot be fulfilled without the self and its counterpart(i.e.mirror-reflected self image) and self will be identified by the image.

拉康认为，自我的建构离不开自身也离不开自我的对应物，即来自于镜中自我的影像；自我通过与这个影像的认同而实现。

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。

With Death guitarist Schuldiner adopting vocal duties, the band made a major impact on the scene.

随着死亡的吉他手Schuldiner接受主唱的职务，乐队在现实中树立了重要的影响。

But he could still end up breakfasting on Swiss-government issue muesli because all six are accused of nicking around 45 million pounds they should have paid to FIFA.

不过他最后仍有可能沦为瑞士政府&议事餐桌&上的一道早餐，因为这所有六个人都被指控把本应支付给国际足联的大约4500万英镑骗了个精光。