形象塑造

Baldwin had depicted three distinct father images in his three works which were created in different phases of his life-Go Tell It on the Mountain, The Amen Corner and If Beale Street Could Talk. All these father images got their prototypes from the Bible and Baldwin's own life.

鲍德温在不同时期创作的三部作品－《向苍天呼吁》、《阿门角》和《假如比尔街能够说话》－中塑造了三种不同类型的黑人父亲形象，而且这些父亲形象都可以从《圣经》以及鲍德温本人的生活中找到原型。

Birth from" demigod " of the first prototype of the hero image at The Ancient Greece literature, This"The Hero Type of Demigod" has been controled and dominated the figures\' molding of The Western literature , The hero images in the not coetaneous literature all can be treated as the different"anamorphosis" of "The Hero Type of Demigod".

从英雄形象的第一个原型"半神"在古希腊文学中诞生，这个"半神式英雄"就一直支配并主宰着西方文学的人物塑造，不同时代的文学中的英雄形象都可以看作是"半神式英雄"的不同"变体"。

Stores the first key condition of a check, a coffee shop exterior image of the results: the grade must be in line with the coffee shop, bearing in mind the personality and the impression of the performance of the shape, but also to maintain a sense of beauty. 2, signs "visible results" of performance: For the "easy to see a high degree of" certainty, we should still be able to make it clear in the distance, and attention should be paid to the suitability of the specifications. 3, store window charm: the performance of windows to be commensurate with the style, while attractive, will have to have induced. 4, to facilitate the import入店: the first shop to have the appropriate degree of openness, and easy to see the coffee-house, at the same time be able to have intimacy. 5, the first shop in the entire facility: a good performance must be able to store the image of the situation in order to avoid fouling, and even to consider closing the store after the first performance.

、店头状况检核重点 1、咖啡店外装形象的效果：必须与咖啡店品位符合，同时注意个性的表现与印象的塑造，而且要保持美感。2、招牌"易见效果"的表现：对于"易见高度"的把握，要使它在远处仍可以一目了然，且要注意规格的适合性。3、店面橱窗的魅力：橱窗的表现要能与风格相称，同时要具有吸引力，进而要具有诱导性。4、便于入店的进口：要有适当的店头开放度，并且易于看到咖啡店内部，同时要能有亲切感。5、店头的整个设施：必须要能表现好的店面形象，避免有污损状况，甚至要考虑打烊后的店头表现。

From the exposition, we can see a myriad voices converging and noisy Carnival-Square; Surpassing the official language of all norms and bans, extensive use of Carnival Language, such as a non-verbal vulgarity , God swear,reprimand, buffoonery, slapstick humor and so on, and carnivalized genre, for example, Funny folk songs, Parody Correspondence, Manuscripts, the Noble Style Irony Simulation, Citation irony to Explain the Phrase, etc.Shaping a series of carnival-style comedy characters in the novel. Scott sets up their own story, with full advantage of the Carnival factors such as Resurrection, Mask, Changing Clothes. The novel hides a Drowning-Decrowning Structure on conceiving the whole and setting up the characters.

从论述中我们可以看到一个众声交汇、喧闹的狂欢式广场；语言也突破官方的一切规范、禁令，大量使用了民间粗俗化口语、指神赌咒、发誓、插科打诨、嬉笑怒骂等等狂欢节语言和滑稽的民间歌谣、戏仿书信、手稿、对崇高文体的讽刺性模拟、对引文讽刺性解释等等狂欢化体裁；在小说中塑造了一系列狂欢式的喜剧人物形象；司各特充分利用了狂欢节里的"复活"、"假面"、"换装"等狂欢因素来设置自己的故事情节，在小说整体构思和人物形象设置中还隐含了一种脱冕型的结构。

By the fashioning of the rebellious women figures, Faulkner expresses his negative attitude to the myth of Southern ladyhood and his complex feelings of sympathy and perplexity, understanding and contradiction, and sustaining and reservation.

福克纳通过对塑造的叛逆者形象的塑造，表明了他本人对南方淑女神话的强烈否定，以及对南方新女性挑战传统，并进而构建女性主体身份所抱有的既同情又困惑、既理解又矛盾、既支持又保留的复杂心态。

The novel "Bailu Yuan" is successful in transcending the traditional syllogistic principles of narration into the aesthetic syllogism. The syllogism in image building has shaped lively figures in the development of the story, displaying their complex characters and excavating the tragic meaning of their fates. The syllogism in plot development has strengthened the readability of the novel through depicting rich and co...

白鹿原》成功地将传统故事叙事三段原理创化为审美三段论：人物塑造三段论在发展中塑造了鲜活的人物形象，展示出复杂的人物性格，挖掘出人物命运的悲剧意义；情节演进三段论通过丰富复杂的意象情节变化强化了作品的可读性，探寻到人物的心路走向，展示出广阔的社会生活和历史真实；主题意蕴三段论在社会事物的互动发展中揭示了民族文化心理的演变轨迹，反思和建构了民族文化。

At the same time, as a kind of autobiographical novels, parodic autobiographical novel can not only unrestrainedly fabricate some stories to mold an odd hero or heroine but also freely work out some purely fictitious psychology to serve their own aims.

在自我形象方面，虽然戏谑型自传体小说叙述人将自己塑造成与世隔绝的"我"、分裂变幻的"我"、玩世不恭的"我"、自暴自弃的"我"几种反传统的自我形象，但是这些形象或许只是叙述者用来掩饰真实自我的一种姿态而已，在叙述者玩世不恭的面具下读者也可以窥见一个始终与虚无作战的执着的灵魂。

At the same time, as a kind of autobiographical novels, parodic autobiographical novel can not only unrestrainedly fabricate some stories to mold an odd hero or heroine but also freely work out some purely fictitious psychology to serve their own aims.

在自我形象方面，虽然戏谑型自传体小说叙述人将自己塑造成与世隔绝的&我&、分裂变幻的&我&、玩世不恭的&我&、自暴自弃的&我&几种反传统的自我形象，但是这些形象或许只是叙述者用来掩饰真实自我的一种姿态而已，在叙述者玩世不恭的面具下读者也可以窥见一个始终与虚无作战的执着的灵魂。

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。

Then the author aims at the question on the image of Wenjun, four important parts we take of this paper: enters the stage, elopes, sells wine, the resentment recite as the clue, how different performance in different writers and compares with the image of history. Analyzes the characteristic Wenjun's image in the traditional opera.

然后笔者则针对文君形象的塑造问题，以文君在戏曲中的四大重要戏份——出场、私奔、当垆、怨吟为线索，分析在不同作家笔下女主角文君有着怎样不同的表现，并与《史记》中的文君形象比较，分析出古典戏曲中各具特色的文君形象。

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。