形象塑造

The red chamber hot pot" the brand image system design take molds has the bright brand idea and the brand culture characteristic hot pot brand image as the design goal, in carries on scientifically, above the strict market survey foundation, proposed the brand localization, take this as the design idea, by the plane design method and the method, launches "the red chamber hot pot the brand vision image design.

红楼火锅"品牌形象系统设计以塑造具有鲜明品牌理念和品牌文化的特色火锅品牌形象为设计目标，在进行科学、严密的市场调查的基础之上，提出品牌定位，以此为设计理念，以平面设计的方法和手段，展开"红楼火锅的品牌视觉形象设计。

Dongtai New Granville ship Parts Factory is a modern enterprise management system in accordance with the implementation of standardized management, pay attention to the overall image, and gradually established a corporate image and product image, to advocate "fighting innovation, working together, sustainable development" business philosophy, forming a characteristics with enterprise corporate culture.

东台市新威船舶配件厂是按照现代企业管理制度实行标准化管理，注重整体形象的塑造，逐步建立了的企业形象和商品形象，倡导"拼搏创新、同心协力、永续发展"的经营理念，形成了具有企业特色的企业文化。

As Jackson's election showed, voters appreciated the prospect of a president who didn't come from wealth. He seemed more like them. In 1840, the Whig party and Harrison used this knowledge to create an image for Harrison. Harrison was successfully marketed as a Jackson-like figure, a rugged frontiersman and an accomplished military man.

如同杰可森当选时所展现出来的、选民通常十分欣赏那些出身贫穷的总统，因为其背景和大多数人较为相近，在1840年，辉格党与哈里森运用这个趋势、塑造出哈里森的特殊形象，成功地将自己塑造为近似于安德鲁杰克森的形象﹣一位刻苦耐劳的拓荒者、功绩卓着的军人。

The duty of the drame and the music which was give by the subject was accomplished by three elements used in this dissertation as following:the musical theme"La Roi S'amuse"(from the opera"Rigoletto")was the center clue;the forming precess of the three main characters (Rigoletto、Duke and Gilda)was the major may to interprete the drama subject; meanwhile, their own Arias were used to rebuild the musical figures; and the chorus between each of them was the main means to put forward the plot of the drama.

本论文以歌剧《黎戈莱托》的主题"诅咒"作为主轴线，以歌剧中三个主人公(黎戈莱托、曼图阿公爵、黎戈莱托的女儿吉尔达)在歌剧中各自音乐形象的塑造过程作为对歌剧主题诠译的主要手段，同时又以他们各自在歌剧中的咏叹调作为塑造音乐形象的主要方式，以他们相互之间的合唱作为歌剧情节向前发展的重要方式，从而完成歌剧主题所赋予的戏剧任务和音乐任务。

The thesis are divided into four parts: chapter 1 is telling the background of La Traviata and the composer"s mentality; chapter 2 is telling how to perform Violetta on the basis of the musical and dramatic factors; chapter 3 is telling the greatness and tragic of the character Violetta; chapter 4 is telling unitarily the artistic charm of the character Violetta,, and her artistic value to the opera La Traviata and even to Verdi"s other opera works.

全文共分为四大部分：第一章主要交待《茶花女》的创作背景和创作心理；第二章主要从音乐和戏剧两因素分析作曲家如何对薇奥莱塔人物形象进行塑造和演唱者如何进行二度创作；第三章，主要从美学角度分析薇奥莱塔形象的"崇高"和"悲剧性"审美价值；第四章，从"薇奥莱塔"歌剧形象看威尔第歌剧的独特艺术魅力。

When depicted as the avaricious images, they are usually protagonists in the stories, and their avarice and miserliness are described incisively and vividly. However, when depicted the accommodating images, few words are often used by the novelists.

小说中同是塑造徽商"贪财吝啬的形象时，往往将徽商作为故事的主角，详细描述其吝啬之态，贪财之形；但是在塑造徽商"乐施助人的形象时，小说家们便有些吝惜其笔墨了。

These artists are not as obsessed with their own images as the cynical artists, very often they tend to be identified with their raffishness.

他们以装做"什么都不在乎"的泼皮心态面对现实，但内心很自尊，在解构"崇高"形象的同时，刻意强调真实而"无聊"状态和"另类"形象的塑造，作品中都具有鲜明的个人形象标志和浓厚的个人情绪。

By analyzing the images of women in the male-dominated society in which women were only regarded as men's accessories or marginalized and sexual politics embodied in Marrow narrative discourses,it hints that Conrad was influenced by patriarchic ideologies ,and he characterized binary women in the gender construction and characterization ,and this sugg.

通过分析马洛话语下的女性形象，在父权思想占统治地位的社会，女性只能作为男性的附庸，或者被边缘化，作品中展现的性别政治观点，折射出作者康拉德受父权思想的影响，在性别的建构和人物的塑造问题上，塑造了二元对立的女性形象，体现了他的性别歧视。

Chapter One presents the western yearning and the imagination of China, the motivation of Portuguese navigation as well as the formation of the Portuguese social psychology; these were the elements that construct the differences in the shaping of the Chinese image. Chapter Two outlines the images of China for the Portuguese in the 16th century and how these images were used or manipulated. Chapter Three identifies the reasons for Fernao Mendes Pintos excessive praise for China. Chapter Four discusses the attitude held towards China by poets and missionaries, and the European misinterpretations of the Chinese image. Chapter Five reviews the Chinese image portrayed by Eca de Queiroz, a Portuguese novelist, and the translations of Chinese poems by certain poets. Chapter Six investigates how poets, especially those who had once stayed in Macao, viewed and perceived China.

第一章概述西方对中国的向往和想象、葡萄牙海外扩张的动机以及民族心理的构成，这决定了他们在塑造中国形象时的某些相异性；第二章论述16世纪葡萄牙人眼中的中国形象，以及对这一形象的利用；第三章集中讨论费尔南·门德斯·平托狂想式赞颂中国的原因；第四章评述诗人和教士对中国的态度以及欧洲对中国形象的&误读&；第五章论及小说家埃萨(Eca de Queiróz)笔下的中国形象以及一些诗人对中国诗歌的翻译；最后一章聚焦澳门，考察在澳门生活过的葡萄牙作家是如何描述中国的。

From the 1950s to the 1970s the study of Soviet Realism was valued above artist's personal skill, as for the representation of farmers, most were highly conceptualized images far-removed from literature or the model characters of authors like Zhao Shuli, but were similar to the portrait sketches of Liu Wenxi in the 1960s.

上世纪五十年代到七十年代，对于苏联式&社会现实主义模式&的学习，高于艺术家个人风格的创造，至于农民形象的塑造，大多是高大全式的概念化形象，远不如文学，象赵树理等人小说中的人物塑造。

They weren't aggressive, but I yelled and threw a rock in their direction to get them off the trail and away from me, just in case.

他们没有侵略性，但我大喊，并在他们的方向扔石头让他们过的线索，远离我，以防万一。

In slot 2 in your bag put wrapping paper, quantity does not matter in this case.

在你的书包里槽2把包装纸、数量无关紧要。