意象

The luxury cars are doing the best job of marketing, but many brands, particularly in fashion, tend to have a lot of their communications done centrally, out of Paris or New York, with very imagistic advertising that doesn't connect to the aspirations of Chinese people," says Doctoroff."

高档汽车行业的市场推广做得最好。但很多品牌，尤其是一些时尚业品牌，与中国的交流沟通不足，他们照搬巴黎或纽约模式，广告过于意象化，不符合中国大众的口味。

Such low-frequency, high-arousal rituals are the lifeblood of "imagistic" religions - cults and other religions based on iconography, analogy and intense cohesion.

这种低重复的仪式有极高的唤醒能力，它们是基于图像，类比和高凝聚性的&意象类&有宗教性质的膜拜及其它宗教的生命线。

Spectacular subjects' consumption of the commodity-image transforms them into individuals whose practical needs and choices apparently matter to the order of things, for the narratives of their personal existences assume wondrous qualities that identify them with the symbolico-cultural configurations of their world, while their sensual, idiosyncratic extensions of themselves into the imagistic being of the spectacle, a kingdom of needs and gratified desires, become a means to stamp the world with their expansive individualities, one of whose main qualities, also gifts of the system of appearances, is an expansive tendency that equates life with possibility.

壮观的主体消费的商品形象转换成个人的实际需要和选择，显然问题的顺序外，说明他们的个人存在承担奇妙的素质，确定他们symbolico文化的配置他们的世界，而他们的感官，个体延伸到自己正在意象的奇观，一个王国的需要和满意的欲望，成为一种手段，在世界邮票的个性膨胀，其中一项主要的素质，还馈赠系统的表现，是扩张的倾向，相当于生活的可能性。

Mr Walcott writes of places seen with an imagistic crispness, a snapshot-spareness;"fields of seaweed reach as far as Guinea" is his view of the Atlantic Ocean.

沃尔科特所描写的地方，意象简洁、清冽，捕捉霎时荒凉之感。&海藻塘片片，延伸至那遥不可及的几内亚&是他眼中的大西洋。

In terms of methodological renovation, Neo- Taoism is deprived of the absurdity, triviality and corruption of the Confucian classicism in the Han Dynasty and turns towards logic, connotation, free interpreting, imagistic thinking, and experiencing in the Jive context.

魏晋三大思潮：才性名理学、玄理名理学和东晋玄佛交涉的格义佛学。就方法的革新而言，魏晋玄学摆脱了两汉经学的荒诞、琐碎和腐化，朝向名家辨名析理的逻辑思辨法、《庄子》及《易经》的寄言出意法、藉经典而通理的自由诠释法，意象思考法以及在生活世界中与情境互动的体验法。

We attempts to get the same origin souce though explanation of two famous sentences poem ""fly like a goose, fly like a dragen,""""Lingboweibu, Luo socks and dust,"" see that female aesthetic with the immortalist, Wufeng, Taoism aesthetic coherence or homogeneous character, and at last get the most foudamental spirit of female image --""human pursuit of their own free liberation"".

本文尝试从对曹植&矫若游龙，翩若惊鸿&&凌波微步，罗袜生尘&两句脍炙的诗句的解释中，发见神女美学与神仙家、巫风、道家美学的一致性或同源性，并由此得到神女意象中所蕴涵的，最根本的&人类追求自身的自由解放&之精神。

However, confined to their own cultural tradition, mode of thinking, values and language, and their lack of knowledge of Chinese characters and culture, there accompanied deliberate or indeliberate misreading in the process of their acceptance.

但是，由于意象派受自身的文化传统、思维方式、价值观念、语言表达方式等各种客观条件的限制，再加上他们对汉字和中国文化缺乏认识，在接受过程中出现了有意无意的误读现象。

The research of dream image should not be confined in inferential aesthetic level, but on aesthetic mechanism.

对梦意象的分析不应局限于推论性的审美层面，更应关注其表现性的审美机制研究。

Poems have been known for its abundant imago and wonderful structure, and characterized by inornate style,simple words,single form,short sentences, brief contents yet amorous sentiment.

狄金森的诗歌以意象丰盈和结构奇特著称，她的诗歌风格朴素，用词简单，句子短小，形式单一，内容凝练，又丰富有趣。

In the point of view of Chinese aesthetics, contingency is defined as a way of thinking in which the subjects in artistic creation have theaesthetic image suddenly and not intendedly, which is led by the changes of outside world and arouses emotion and creative impulse of the subjects.

从中国美学角度来看，偶然指艺术创造主体赖以激发审美情感、创＿作冲动，并在不经意间形成审美意象的一种突发性的思维方式，是以客观外物的变化触失主体情感为前提条件的。对于偶然性创作契机的发生机制，中国古代美学是从审美主客体的触遍感发的思路来阐释的，这就是审美感兴论的传统。

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。