意象

As two important novels of the understratum narration, There and So Big a Couple of Sheep have similar narrative structure and the same discourse pattern.

摘要作为底层叙事的两部力作，《那儿》与《好大一对羊》有着相同的表层结构与话语方式：从表层来看，两篇文本都以"拯救"过程作为主线，以彼岸意象作为终结，在解蔽本土现实的同时解构了改革话语。

When the architect Frank Lloyd Wright arrived the desert in the Arizona, he sensed the gobi, the vast desert, the storm and the trace of Indian tribe, and perceived an imago of vast desert, alone boat and undulant tents, and transferred to be the architecture image of Taliesin West.

当赖特来到亚利桑那的沙漠里，感受到戈壁、大漠、风暴和印第安原始部落曾生活在此的印迹，他获得了大漠、孤舟、帐幕起伏的意象，转化成西塔里塔的建筑形象。

And in the aspect of ecocritical exploration, we can feel that the poets pursue unfailingly the correspondence of natural imagery with the human being, and pay a great attention to unhuman forms of lives and the substantial environment. And the author also considers that such Eastern idea as oneness of Heaven and Man doubtlessly plays an important role for some poets to form their ecological concept of nature.

在生态学意义的探究方面，认为从中西诗歌中，我们可以感知，诗人一直在不倦地追求自然意象与人类灵魂的契合，以及对非人类的生命形式和物质环境的关注，而且认为东方的天人合一、物我合一等思想无疑对一些诗人的自然观念的形成起了重要作用。

His paintings are remarkable not just because of their themes, but their unique style and form. His style and form are jumping out of the specific images, reaching closer and closer to the mind images, presenting a feature between likeness and unlikeness, and transforming the images into a "meaningful form".

这些作品引人注目，重要的并不仅是所表现的题材，更是它们独具特色的表现形式，这种表现形式是从具体的形象脱颖而出不断向心象靠拢，介于似与不似之间，凝聚着意象审美的一种"有意味的形式"。

He not only inherits Xie Lingyun and Xie Tiao"s composed experience of the landscape poems, but also produces the obvious new change of his poem"s art: First, the transformation of landscape aesthetic ideal; second, the abundant connotation of landscape theme; Third, the movement of find-a-view image and sketchy pattern; Fourth, the poesy form of unpretending aloof.

他不仅继承了大、小谢山水诗的创作经验，而且其山水诗艺术发生了明显的新变：山水审美意识的转型；山水题材内涵的丰富；取景意象和写景范式的变化；质朴疏野的诗歌形式。

Unhasting, unresting, he pursues it, subduing al the riches of his mind to it, rejecting all beauties that are not germane to it; making his own beauty out of the very accomplishment of it, out of the whole work and its propotions, so that you must read to the end before you know that it is beautiful.

他毫不犹豫，不停的追求着。他控制着那些毫不相干的丰富的意象，拒绝那些对散文没有多大用处的美，而是从行文及整体性上来考虑。对于大家的作品，只有在阅读之后，才能发现其美妙之处。

Unresting, he pursues it, subduing al the riches of his mind to it,rejecting all beauties that are not germane to it; making his own beauty

相干的丰富的意象，拒绝那些对散文没有多大用处的美，而是从行文及整体性上来

He had a preference for the small animals, who are common, weak or humble, since the absurdity of the world and the dilemma of human beings are reflected by their eyes, and their fear, humble images demonstrated the inside unstableness of the author when he was facing to the alienated world.

他尤其偏爱那些生活中常见的、较为弱小或是地位"低贱"的小动物，从它们眼中折射出世界的荒谬和人类的困境，以它们惊恐、卑微的意象呈现自己面对异化世界的惶恐不安。

The fourth, different sex imago. Chinese spring palace paintings have vagarious interest in embroidered shoes and tootsies, but as for western nudes, they deeply fall in love with women's breast.

作为性意象，春宫图注重穿在小脚上的绣花鞋的刻画，对女性乳房并不加意；而西方人体画则肆力于女性乳房的刻画。

The fouth, different sex imago. Chinese spring palace paintings have vagarious interest in embroidered shoes and tootsies, but as for westen nudes, they deeply fall in love with womens breast.

作为性意象，春宫图注重穿在小脚上的绣花鞋的刻画，对女性乳房并不加意；而西方人体画则肆力于女性乳房的刻画。

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。