意象

It is widely used in female poetry and has characteristics such as suggestibility,freedom of combination and being specific in expression and so on.

在当代的女性诗歌作品中，"意象"的种类以及使用方法有很多种，也体现出了意义的暗示性、组合的自由性、表达的特定性等几个特点。

A plentiful"sun, distance and kingdom"imago that the poet forms in tracking down ideal process of poetry, compared to the mankind's home, it enters into a higher level-shape but superorganic layer.

诗人在追寻诗歌理想的过程中形成的一个完整的"太阳——远方——王国"意象，和前面的人类家园相比较，进入了一个更高层次——形而上的层面。

Plastic material texture image is composed of transparency, special artistic effect additive, surface texture, and color.

提出了塑料的材料质感意象由材料的透明度，特殊效果添加剂，表面纹理和色彩组成。

The novel "Bailu Yuan" is successful in transcending the traditional syllogistic principles of narration into the aesthetic syllogism. The syllogism in image building has shaped lively figures in the development of the story, displaying their complex characters and excavating the tragic meaning of their fates. The syllogism in plot development has strengthened the readability of the novel through depicting rich and co...

白鹿原》成功地将传统故事叙事三段原理创化为审美三段论：人物塑造三段论在发展中塑造了鲜活的人物形象，展示出复杂的人物性格，挖掘出人物命运的悲剧意义；情节演进三段论通过丰富复杂的意象情节变化强化了作品的可读性，探寻到人物的心路走向，展示出广阔的社会生活和历史真实；主题意蕴三段论在社会事物的互动发展中揭示了民族文化心理的演变轨迹，反思和建构了民族文化。

In his works"Remembrance", a book with academic speculation and literal interest, Owen mentioned synecdoche in Chinese literature.

在《追忆》这本特殊的充满学术思辩和文学趣味的书中，宇文所安指出了中国文学传统的"举隅法"特点，他以点带面，从中国文学作品中的"烟""往事"等具体意象入手研究"举隅法"。

Tb condition is undoubtedly present in the child during the fir years of its life. It therefore seems to me more probable that tl archetypal form of the divine syzygy first covers up ar assimilates the image of the real parents until, with increase consciousness, the real figures of the parents are perceived often to the child's disappointment.

外部世界的情况无疑是呈现在婴孩生命的第一年里，因此对我来说神配会合原型的首次实现会吸取真实父母的影象是完全有可能的，随着意识的增长，父母的真实意象会呈现在孩子面前，并让他失望。

So when we felt another kind of tetra-dimensional, extreme, music-like art made up of colors and lines in Malevich and Tatlin's experiment in the early of last century, people had to get used to the visional format from Kandinsky, Pollock, Mondrian and Roscoe. The brand-new artistic experiment is further rooted into experience of our religion, music, philosophy, life and other staffs not only from format to content, but also from theory to techniques. And the traditional plane paintings are used to annotate the art meaning of non-representation. But Chinese are unwilling. It is only the format product of powerful culture in expanding, rather that there are lots of differences between the western abstract and oriental "image".

所以当我们从上个世纪初在马列维奇、塔特林的实验中，体验到一种被称为四度的、极致的、音乐似的、或者说将色彩和线编制成为另一种艺术自由的端倪时，人们就不得不习惯由康定斯基、波洛克、蒙德里安和罗斯科所带给我们的视觉图式，它们从形式到内容、从理论到技巧，无不变本加厉地把这种全新的艺术实验根植于我们对宗教、音乐、哲学、生活以及诸多问题的体验中，并用传统的二维平面绘画来诠释出非具象的艺术意义，不过这些对中国人来说，很可能是不情愿的，它只是强势文化在扩张中的样式产物，更何况这些西方式的抽象与东方式的"意象"仍然有着极大的差异。

Review on Foreign Studies of Technophobia, Review on Neo-Ludditism Explanation of the Technological Taboo——Neo-Ludditism Analyses on Psychological Cause of Modern Technological Problem, Comparison Analyses on Ludditism and Neo-Ludditism, Critical Explanation of Neo-ludditism for Technology Impacting on Education, Analyses on the Condemnatory Critiques of the Neo-Luddites against Televisions,The Rehabilitation of the Negative Connotation of the "Luddite Imagination" and Its Social Implication, and so on.

主要论文有《关于"技术是什么"的对话》、《国外技术恐惧研究述评》、《新卢德主义述评》、《新老卢德运动比较研究》、《解析技术塔布——新卢德主义对现代技术问题的心理根源剖析》、《新卢德主义关于技术影响教育的批判性阐释》、《解析新卢德主义对电视的声讨》《"卢德意象"正名的社会意蕴阐释》等

The commodity-image, in terms of its symbolic content and from the point of view of its consumers, offers a deeply suggestive account of personal existence: it provides a telos to personal existence, turns being-in-itself into an imagistic matrix that extends our sense experiences, while delivering possibility as a mode of living.

商品形象，在其象征性的内容和观点的消费者，提供了深刻启发的个人帐户的存在：它提供了一个telos个人的存在，正在轮流在自己变成一个意象矩阵延伸我们的责任感经验，同时提供可能的模式生活。

What these three edifices manifest is "concrete-form imagery": The most eye-catching feature of the Grand Louvre expansion project is I.M. Pei's glass pyramid, employing modern-day materials to manifest anew the dream of the ancient Egyptians, to transcend mundane existence and to enter into a heavenlyparadise beyond the influence of events in time and space and not subject to natural deterioration; the four-sided La Defense Arch symbolizes a window "opened to the world and welcoming the future"; and the French National Library's four L-shaped glass-walled towers concretely represent opened books standingon end, giving the viewer the immediate impression of "book."

这三件建筑作品呈现的都是「具支配之世外桃源的古老梦想；拉德芳斯凯旋门象徵「一扇开向世界、迎向未来」像的意象」：大罗浮宫计画中最受注目的，是贝聿铭的玻璃帷幕金字塔，使用现代材料重现埃及民族渴望超脱其生存的现世，进入一个不受时间与自然毁坏法则的窗子；国家图书馆则以四座L型玻璃帷幕高塔，具体表现出四本打开立放的书，直接传递「书」的立即印象。

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。