意象

The south, sun, sea, wilderness and the color ofgreen suggest nature and sensuousness, passion and physical life,while north, moon ,music ,stature and darkness suggestimagination , the creative activities and reason.

其中南方、太阳、大海、荒野、绿色等是代表自然、感性、激情和物质生活的意象，而北方、月亮、音乐、蓝色等则代表人的想象、创造性行为和理性的力量。

Li Yu's late word is that he's fine words, the use of live images of his late term for the distinctive feature, try this bleak picture from the construction and acquisition, desolate mood with the statement that the silent, desolate picture of the role and significance of the three aspects of the analysis, he adopted a bleak picture to express his statement said with silence, It was this bleak picture also makes use of the term late for his fine efforts out to the world love, making him a great word generation, Comments were as "progressing."

内容摘要：李煜的后期词是他词中的精品，凄凉意象的使用是他后期词作的明显特征，本文试着从凄凉意境的营造与构置、凄凉意境的言说与沉默、凄凉意境的意义与作用三个方面分析之，他通过营造凄凉的意境来表达自己的言说与沉默，也正是这种凄凉意境的使用才使得他的后期词作精品叠出，为世人所爱，使得他成为一代伟大的词人，被人誉为宋词的"开山祖师"。

A building is not only a simple building but also a product of soul .

一座建筑物很大程度上是通过意象的转移来拯救人们的灵魂，其来源便是自然崇拜。

Embracing the entire parental field, such imagery acts as a medium and puts me in a relation with my body's id; it provokes in me a kind of obtuse dream, whose units are teeth, hair, a nose, skinniness, lone legs in knee-length socks which don't belong to me, though to no one else; here I am henceforth in a state of disturbing familiarity; I see the fissure in the subject (the very thing about which he can say nothing).

涵盖着父母的种种，这个意象作为一个媒介，将我与我的身体的认同联系起来；它激起我的一种钝重的梦，梦中牙齿、头发、鼻子、皮肤、穿着及膝袜的长腿，它们都不属于我，然而也不属于其他任何人；从此，我就陷入一种扰人的熟悉感：我看到了主体的裂缝。

I will not, like a sluggard, wear out my youth in idleness at home.

我不愿意象个懒人一样待在家里，游手好闲地把我的青春消磨掉。

I think "the soakage of Buddhism" is a key to the content and spirit of the theory of aesthetic image in Chinese brush and ink landscape since Tang dynasty.

特别是笔者以为"佛教思想的浸润"是自唐代以来中国水墨山水画意象论内容与精神的一个重要因素。

I think"the soakage of Buddhism"is a key to the content and spirit of thetheory of aesthetic image in Chinese brush and ink landscape since Tangdynasty.

特别是笔者以为"佛教思想的浸润"是自唐代以来中国水墨山水画意象论内容与精神的一个重要因素。

The grandeur and solemnness of Northern China's landscape once excited Jiujie a lot, but in his deepest heart runs his aspiration for the aesthetics of tranquility and tenderness. He loves the more subtle experience of life and mind, and he needs to seek and construct his unique style of expressing images in his mind.

北方广袤大地的崇高、庄严、静穆的宏大叙事艺术风格曾经让九杰激动不已，但他蕴藉在内心深处的，则是追求恬静、温存和柔顺的审美情致，他更钟情于细致入微的生命体验和心理抒发，他更需要寻觅并且建构一种完全属于自己的感性呈现内心意象的形式语言。

One aspect of the visual is its relative standoffishness (which offended Lawrence and pleased Baudelaire), and I've written about that in a poem called The Eye.

视觉意象的一个特点是较少带感情色彩（这种冷漠让劳伦斯生气让波德莱尔高兴），我的《眼光》一诗就是以此为主题的。

By embedding the biblical themes and images into American literature, culture, and even politics, it serves as a link between the secular and the holy, here and now and there and then, as well as the sublunary world and the heavenly kingdom, combining the secularization of American civilization with the university and eternity of Christianity.

它将《圣经》中的主题或意象嵌入到美国文学、文化乃至政治之中。它是世俗与神圣、此地与彼岸、尘世与天国相联系的纽带，将美国文明的现世性与基督教教义中的普世性和永恒性融合在一起。

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。