思想感情

For Shen Jianhua, photograph is not restricted in its yoke of space-time reference marks, of images of a private diary, it takes at his place very an other dimension: It is a true setting in scene of its dreams, its phantasms, and its desires, suggesting at the same time the sensuality, the strange one, the unknown of the subconscious.

沈见华用摄影实现绘画的表达和艺术的愿望，给摄影一个另外的生机，使它可以不再是记录的，而和绘画一样，是思想、心灵、感情及性情的自由表现。脱出了普通摄影的类型化框框，而使日光下的事物都可以是抽象绘画的感觉，并用非常空静的画面，洗练地表达事物的本性，获得了个性化的风格。

To someone with obsessions, compulsions seem like the only way to escape bad feelings caused by bad thoughts.

有人与执着，强迫好像唯一的出路逃生坏的感情，所造成的坏思想。

The profoundest thought or passion sleeps as in a mine until an equal mind and heart finds and publishes it.

最深刻的思想或感情就如同地底的矿hide ，在等待着同样深沉的头脑与心灵去发现和开采。

The profoundest thought or passion sleeps as in a mine until anequal mind and heart finds and publishes it.

最深刻的思想或感情就如同地底的矿藏，在等待着同样深沉的头脑与心灵去发现和开采。

E The profoundest thought or passion sleeps as in a mine until an equal mind and heart finds and publishes it.

最深的思想或感情就如同深睡的矿藏，在等待着同样深沉的头脑与心灵去发现和开采。

Rather than teaching the "whole counsel of God" the travelling preachers aimed at immediate effects through what the ancient Greek rhetoricians called pathos - an appeal only to the heart, not the mind.

旅行布道家们不是教导「神完整的劝告」，而是以立干见影的效果为目标，所用的方式是古希腊修辞学家所称的哀婉法—只诉诸於内心感情，不诉诸於思想理性。

Here is a brief excerpt from "Jane Brody's Guide to the Great Beyond: A Practical Primer to Help You and Your Loved Ones Prepare Medically, Legally, and Emotionally for the End of Life"

下面是一段摘录，来自于&简布罗迪指南大超越：一本实用的读物，以帮助您和您的亲人在生命即将结束时做好医疗、法律和感情方面的思想准备。&

Sapir uses "ideas,""emotions," and "desires" in his definition.

萨 尔在他的定义中使用了&思想&，&感情&，和&愿望&的说法。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。