意象

Croce's aesthetics marks a farewell to traditional representationalist theory, undermining the rationalism universally accepted within the field.

在直觉论的基础上，克罗齐美学提出了艺术的直觉本性、意象特征、抒情原则、人本目的，建立起一套纯粹的艺术哲学；晚年又从艺术走向文明，建立起一套系统的文学理论。

Shui Mo main, Shui Mo fine jade , Shui Mo rigorousness, Shui Mo male wonderful and is unrestrained, all the matter exquisitely does not build one kind of junction peaceful image, constitutes acondensation the graphical representation.

水墨的扼要，水墨的璇旎，水墨的严谨，水墨的雄奇与恣肆，都不事小巧地营造出一种交泰的意象，构成一个凝聚的图示。

All children's stories are riven with unbelievably dark imagery .来源: amy90217.spaces.live.com

所有的儿童故事里都或多或少会有一些令人难以置信的黑暗意象。

According to some characteristics of role-defining set up by Shi Zhecun, the article raised a pair of conceptions" kind woman and roamer", trying to reexplain the works of Shi Zhecun by the means of image analysis, while avoiding the conceptions," psychoanalytic novel"," historical novel", stressed in the researches before.

本文依据施蛰存作品中人物设置上的某些特点，提出了"善女人--漫游者"一对概念，试图采用意象分析的方式，对施蛰存的作品进行重新解读；回避了以往施蛰存研究中所强调的"心理分析小说"、"历史小说"等概念。

This means that the understanding of agricultural activities is still an important element in understanding modern rurality.

乡村性是描述、判断乡村之所以为乡村的标准，过去许多研究倾向透过实证取径的指标测量，描述乡村性组成之元素，对这样的研究而言，农业生产仅是对乡村性探讨中的一个变项，在农业活动已然式微的今日乡村中，有些学者认为农业已失去在乡村性讨论上的重要性，然而本研究从社会再现的观点思考乡村性，认为乡村居民日常言语所透露出的概念、意象、符号可作为描绘乡村形象的依据，而乡村民众日常言语的表现，又受其生活经验、所接收资讯等的影响，对部分生活在乡村的居民而言，仍视农业为其最重要的生活经验，这说明了对农业活动的理解，仍是探讨乡村性一个重要的面向。

Sapporo's Snow Festival has a different theme each year; last year's theme was "caring for the earth," with the message of protecting the environment for our future generations. Many local and international organizations participated in the festival with their own snow sculptures, capturing well-known landmarks, concepts, characters, humors, and historical events in hardened snow.

札幌雪季的主题每年不同，去年以「爱护地球」为主题，强调要为未来的孩子们保护地球环境，其他也有许多团体、甚至各国代表所制作的雪雕作品来参与这一年一度的盛事，藉由作品展现出名景、意象、特色、趣味或可纪念的事件。

For example, a kindly Jordanian banker pops up to tell us that Islam is doomed because capitalism has hijacked its most holy imagery and turned it into tourist schlock:''The problem with Muslims ... was that the paradise promised by the Prophet already existed here on earth.

例如，一个和善的约旦银行家突然出现并告诉我们，伊斯兰教是注定要遭受厄运的，因为资本主义已经劫持了它最圣洁的意象，并将其变成了旅游者的伪劣品：穆斯林的问题……是，先知所许诺的天堂已经在这里，在地球上存在着了。

In The Old Man and the Sea ,"the lion" brings out the theme.

而这些不同的意象意义同样可以用来解读文本的整体意义。

This piece takes the image of a sea of azaleas and sows pink acrylic fiber through the greenery, forming a maze on the strip of green that runs through the city. This idea of natural organic combination between media highlights the vital beating heart at the center of the city.

作品以杜鹃花海的意象，透过粉红色调的压克力纤维穿梭林荫间，型塑一个以都市绿带为基地的迷宫，并藉由媒材之间自行有机结合成的意像，展现都会方寸之间生息不已的状态。

Supported by Freud"s psychological analyses and archetypal criticism of Frye and C. C. Jung, the main body of the thesis firstly analyzes the deep reason for the phantom battle. Charles"s jealousy for James and the phantom pursuit of Hartley take their initial in his transferred "Oedipus complex" towards his aunt. Secondly it presents the artistic means Murdoch employs in the novel, dealing with the language confrontation, and such archetypal images as sea serpent and seals. Lastly, the study reveals how Charles fulfills his spiritual maturity through "down-up experience","the last baptism" and "meditations on stars".

论文主体以弗洛伊德的精神分析理论，弗莱和荣格的原型批评为支点从三个方面着手，首先分析导致查尔斯虚幻之争的深层缘由，阐述查尔斯对詹姆斯的嫉妒和对哈特莉梦的追寻源自对婶婶的"俄狄浦斯"情结；进而重点分析默多克呈现兄弟虚幻之争所运用的艺术手段，其中包括言语对抗，"海怪"，"海豹"等原型意象分析；最终揭示查尔斯如何通过"坠落经历"，"最后的洗礼"，"对星星的冥想"等完成自身的精神成长。

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。