意象

The thesis focuses on the analysis of these symbols and images in order to illustrate how Zora Neale Hurston makes the protagonist explore the spiritual journey to quest for voice and self.

本文以婚姻为主线，旨在分析这些意象和象征，以昭示佐拉·尼尔·赫斯顿是如何运用他们来阐明主人公珍妮摆脱男性和白人的压迫，追求并实现自我价值的一生。

The influence of regional culture to Donggan literature have three facets:literary language,folk custom,effects of writer. Donggan literature under infulunce of regional culture has enlightment singnificance for study of world literature of China.As far as second part is concerned, Middle-Asia Donggan literature and Chinese Hui literature have common cultural oringin.Their development are different directions of Chinese ancient Hui literature.To analyze the common images of two nationalities,such as "moon","cattle" and"Ahong",we can see the relationship between them.We also have new opions of two nationalities\' development,if we take their literature as mutual refrence system. There are comparability between Middle-Asia Donggan literature of Chinese origin and literature of Russian emigrants in China ,though they have geographical long-distance. Chinese culture and Russian culture have influenced these two literature.They can not only display profound influence of Russian culture and Chinese culture collision,but also display various artistic forms of Russian literature and Chinese literature exchang in the 20th century.

就下编内容具体而言，中亚东干族的文学和中国回族的文学有共同的文化渊源，它们是中国古代回族文学在20世纪以来发展的两个不同向度，解读两族文学中共有的&月亮&、&牛&、&阿訇&意象，能发现两族文学间千丝万缕的联系，如果以互为参照系的方式观照两族文学，我们还会对两族文学的发展产生全新的理解；中国俄裔侨民作家群和中亚华裔东干作家群虽然地理上相隔遥远，但他们的文学存在可比性，中国俄裔侨民文学与中亚华裔东干文学都受中国文化和俄罗斯文化影响，这两个侨民作家群的文学不仅能显示中、俄文化碰撞对20世纪侨民文学的发展影响深远，也能显示20世纪的中、俄文学交流存在多种艺术形式；美国非裔黑人文学与中亚华裔东干文学虽然分属于不同的文化谱系，但存在可比性。

The influence of regional culture to Donggan literature have three facets:literary language,folk custom,effects of writer. Donggan literature under infulunce of regional culture has enlightment singnificance for study of world literature of China.As far as second part is concerned, Middle-Asia Donggan literature and Chinese Hui literature have common cultural oringin.Their development are different directions of Chinese ancient Hui literature.To analyze the common images of two nationalities,such as "moon","cattle" and"Ahong",we can see the relationship between them.We also have new opions of two nationalities\' development,if we take their literature as mutual refrence system. There are comparability between Middle-Asia Donggan literature of Chinese origin and literature of Russian emigrants in China ,though they have geographical long-distance. Chinese culture and Russian culture have influenced these two literature.They can not only display profound influence of Russian culture and Chinese culture collision,but also display various artistic forms of Russian literature and Chinese literature exchang in the 20th century.

就下编内容具体而言，中亚东干族的文学和中国回族的文学有共同的文化渊源，它们是中国古代回族文学在20世纪以来发展的两个不同向度，解读两族文学中共有的&月亮&、&牛&、&阿訇&意象，能发现两族文学间千丝万缕的联系，如果以互为参照系的方式观照两族文学，我们还会对两族文学的发展产生全新的理解；中国俄裔侨民作家群和中亚华裔东干作家群虽然地理上相隔遥远，但他们的文学存在可比性，中国俄裔侨民文学与中亚华裔东干文学都受中国文化(来源：A82BacC论文网www.abclunwen.com)和俄罗斯文化影响，这两个侨民作家群的文学不仅能显示中、俄文化碰撞对20世纪侨民文学的发展影响深远，也能显示20世纪的中、俄文学交流存在多种艺术形式；美国非裔黑人文学与中亚华裔东干文学虽然分属于不同的文化谱系，但存在可比性。

As one of the most primitive information transfer ways, a graph changes from the pure line image to modern diversified representation in our highly informational society. The cross and integration of all concerning branches of knowledge infiltrate to the artistical creation in various parts.

摘 要：在高度信息化的当今社会，图形作为信息传达的主要方式之一，已经由纯粹线条的意象到现在表现方式日趋多元化，各学科间的交叉融合更是渗透到艺术创作的各个层面。

From meditating the design status of our country"s large-scale square, the thesis boils the realistic problems down to ten points which are size, position, integration; balance, imageable; capacity, quality, flexibility; outside meaning, inside meaning and fells the ten points under the four elements in modern city square"s design assumably.

本文从反思我国大型广场的设计现状出发，将其现实问题归结为十点：规模、布局、集成；平衡、可意象；容量、质量、灵活性；外显、内隐，并将其粗泛地归入现代城市广场设计的四要素之中。

Attentional bias is one of the maintain factors of negative body image.

消极身体意象伴随的注意偏向是负面身体自我或进食障碍的维持因素之一。

Nonrepresentational imagery is not restricted to modem painting but appears also in earlier forms such as aurignacian decorative meanders.

非具象派意象则不仅限于当代绘画，还出现在早期绘画中，如奥瑞纳文化中的装饰性回纹波型。

When the form of aversive stimulation is unpleasant mental imagery the technique is known as covert.

当使用的厌恶性刺激是引起心理上不愉快的意象时，则称为&隐匿性敏感法&。

Regard pursueing "Spiel" of freedom as the starting point, adopt the tactics jeered at, talked in professional jargon, through is it construct to conciliate to traditional subversion of literature, revolt tradition and classics. Embody in theindividual free psychology by "there is no regular following one"s benting and write the experience of life at first, come from compatibly the writing in the form of pluralism.

通过欲望化的本色表达和关注日常生活体验来解构深度，单向度平面地展示&当下&生活；用&戏仿&和&拼贴&的游戏性文本策略制造喜剧性的反讽效果和零碎意象的堆积，拨开严肃的、神圣的缪糕糕意义，让人看到生活最本真的状态；开放互动性的结构打破了作者中心，将读者吸引到创作中来，个人自由叙事得到一个最广阔的相容空间，并由此产生新的文本—&超文本&，为读者提供了一种阅读的自由和精神的自由。

Besides, the paper clarifies the status and qualification of the translator and points out constrains of the reception theory such as its over-emphasis on the role of the reader. The final conclusion is that the correct cultural attitude of the translator is to promote cultural communication, and the translator should not only be bilingually competent but also biculturally competent.

并在此基础上对译者的地位和资质展开了讨论，提出了接受理论过分强调以读者为中心的局限性，从而得出在翻译文化缺省的意象时，译者应确立的文化态度是促进不同民族之间的交流与沟通，并且不仅应具备双语能力，更应具备双文化能力。

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。