意象

First of all , it is seen in Zhang Wei"s long writing that continuous changes occurs with the following era contexts which is shown. First, the gradual desalinization of " earth image " on the space," earth " is not only a creation in Zhang Wei"s novel, but the main source of the poesy of its works. It declines after " September fable ", not only indicating Zhang Wei "s decay of poesy of the novel, but also reflecting the disobeyed pross of light appear contemporary China social urbanization and common customs to . Second, the change of " writing subject projection " in the spiritual meaning, Its characteristic displayed by the reduction of image of spokesman as write thought representation .and on the other side represent" person who want more that resist actively " which also shows contemporary intellectual predicament and adjustment of value. Third, in " changeable and separate characteristics in the stylistics ",It changes " epic body " of" Ancient ship "," body not mythical " to " September fable "," pour out body " of" Bai Hui "" Family "," the discipline spreads the body "of Book of other provinces"," lie body " of" Can not recall the hollyhock ". Its constant changes persuing of recreation and sports, has entered into the different book mode and narration of different class gradually too.

首先，张炜的长篇写作中可以看出一种跟随时代语境而不断发生的变化，这表现在：一是空间上的"大地意象"的渐趋淡化，"大地"不但是张炜小说中的一个创造，而且也是其作品的诗意的主要源泉，它在《九月寓言》之后的衰退，不但表明了张炜小说中诗意的衰减，而同时也反照出当代中国社会城市化和世俗化进程的不可违拗；二是精神意义上的"写作主体投影"的变化，其特征主要表现为作为作家思想代言者的"正面的知识者"形象的弱化，代表其另一面的"积极反抗的多欲者"的凸显，这也显示了当代知识分子价值的困境与调整；三是在"文体上的多变与另类化"，由《古船》的"史诗体"，到《九月寓言》的"神话体"，再到《柏慧》、《家族》的"倾诉体"，《外省书》的"纪传体"，《能不忆蜀葵》的"诳语体"，其文体不断求变，也逐渐走入了异书模式和另类叙述。

Investigation of the color and icon design of resource recycling, was conducted through a questionnaire.

各类资源回收的图像设计及色彩意象则以问卷方式进行，最后并实地验证。

The research investigated two major areas: the present conditions of resource recycling in public places and the icon and color of resource recycling devices. To investigate the condition, this study employs questionnaires to analyze resource recycling in the Greater Taipei Area. In addition, we employed telephone interviews to find out the present condition concerning resource recycling and related regulations in other counties and cities.

本研究主要针对目前公共场所资源回收现况、及资源回收设施分类图像与色彩意象等两大部分进行探讨，现况调查部份以问卷方式进行，对现有大台北地区之公共场所资源回收设施进行分析，另以电话访谈方式调查台湾地区各县市之回收规定与回收现况。

This enables a critical analysis of the respective religious iconography as well as its transfer to a cultural modernity.

由此产生了对不同的宗教意象及其向文化现代性转化的批判性分析。

Fashion is a language of signs, symbols and iconography that non-verbally communicate meanings about individuals and groups.

时装是一种语言的符号，象征和意象，非口头交流的含义有关的个人和群体。

Poetry, In the history of literature there was the famous campaign -- iconography.

诗歌方面，在文学史上有一场著名的运动--意象派。

When you think about it, the iconography of the barcode happens to pop up quite often, and not only in architecture.

当你想一想，该条码意象恰好常常弹出，不仅在架构。

The rigorous application of the barcode iconography surprisingly works quite well too.

条码的严格实施意象令人惊讶的作品不错。

Our icon development team can develop on the mark iconography that will not only enhance implied value and the look of your product, but also make it more intuitive and fun to use.

我们的图标，开发团队可以制定关于商标意象，将不仅提升隐含价值和你的产品外观，而且还使之更加直观和有趣的使用。

In the process of urban design, the method of image analysis can induce designers to understand design objects in the mode of cognition of human inner heart and analyze how the human being and the environment interact, so as to boost the identifiability and order of the environment.

在城市设计的过程中，意象分析法可以引导设计师从人的内心认知模式来理解设计对象，分析人类与环境是如何相互作用和影响，以提高环境的可识别性和自身的秩序性。

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。