意象

But symbols like "five-pointed star,""portrait of leader," and etc. are not standard format of "Cultural Pop," and Huang Gang excluded the most common elements in Chinese Contemporary Art:"persiflage,""mocking,""sarcasm"– these has been seen as flightiness and kitsch in current art world. In contrast, his usage for these symbols as almost "abstract," and with a bare outline and a section of changed and coordinated color could create settled and dignified visual effect.

但"五星"、"领袖像"等符号并非标准的"政治波普"形式，黄钢采取了一种意象化的方式来呈现它们，剔出了1990年代以来中国当代艺术中常见的"戏谑"、"调侃"和"讽刺"——这些方式，在眼下的艺术世界中，已然变得轻浮和媚俗；相反，他对这些符号的表现几乎是"抽象"的，仅仅一个轮廓，一片变化而协调的颜色便能做到，在视觉效果上显得沉稳而凝重。

The imago of "foreordination" you mentioned is created by the era, which may be related to the discussion topic of the "Rest" Exhibition. If so, I really don't know where art will run along with the bewitching of the crazy competition?

你说的"宿命"意象是时代营造出来的，应该与"休止符"展览议题有关联，这样看的话，真不知道艺术会随着疯狂竞赛的蛊惑奔向何方？

There seems to be a kind of imago of foreordination which is related to the naming of the "rest", hoping it won't be put off again?!

似乎有种宿命的意象与"休止符"命名有了关联，希望不会又往后延罢？

The first chapter introduces Forster's conception of easy rhythm and explores the use of it in the

第一章分析简单节奏的概念以及在小说中的运用一小说中话语"那你就是一个东方人"、黄蜂意象和回声。

The works of this period are full of painting language experiments in form, space and material, and we see sparks of what would later form his language matrix, but overall, the Chen Yufei of the '80's was a lonely metaphysicist, focused on using the four-cornered world of painting to extract basic imagery and forms from his daily life and spirit. His pictures had a very strong design feel.

这一时期的作品在造型、空间、材料等绘画语言上有着各种实验，闪现出了他其后的一些基本语言与母题，但总体而言，80年代的陈宇飞属于一个孤独的形而上主义者，专注于用绘画这一四边形的世界从他的日常生活及精神生活中抽离出一些基本的意象和形式，画面有很强的设计感。

In section two, the author illustrates the characteristics of horror fragmental description.

第一部分以事实说话，把存在于儿童文学作品中的恐怖性片段描述按恐怖的源体分成三类：恐怖性行为、恐怖性意象、恐怖性感觉。

The francolin is the four greatest characteristics of familiar poem phrase idea,content"the Yi white order","have another to the Ti","fly but south" and Ming interjection and"Gou Zhou Ge Zhe","may not be done an elder brother also" homophonic and is given abundant affection from here.

鹧鸪是常见的诗词意象，内涵"臆白点"、"多对啼"、"飞但南"和鸣叫声与"钩车舟格磔"、"行不得也哥哥"谐音的四大特性，由此被赋予了丰富的感情。

What is new in this thesis is the point that the multi-dimensional feature is the fundamental feature that differs from the traditional easel painting.

壁画与环境互生的时空建构则是通过画面与周围环境的结合，形成新的时空关系和时空意象，更注重与环境的关系。

The fourth part, from the perspective of the being changed images of bu gaucho in Argentinian literature, expounds the process of forming Argentitian nationality, the national characteristics of the images of dagger, and Borges'contribution to establishing national literature and language.

第四部分从分析阿根廷高乔形象在阿根廷文学作品中的变化入手，论述了阿根廷民族性的确立过程。并且论述了博尔赫斯作品中匕首意象的民族性特征，以及博尔赫斯在建立民族文学、民族语言方面的努力及成就。

They were packed with images of wide farms, dry riverbeds, windswept veld, frolicking gemsbok and scratching guinea fowl.

这些诗篇的意象里是宽阔的农场，干涸的河床，刮风的草场，嬉戏的大羚羊还有觅食的珍珠鸡。

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。