意象

Next is an elaboration on how"image"can be recreated in the target language through the"redescription"by imagination.

再次，阐明&意象&可以通过想象的&再描述&，来实现它在跨过语言边界之后的&再造&。

The rain in nature , as in image, conveys a profound spiritcal relevation and significant aesthelic value .Consequently a boundless and subtle mintal realm of imagination is provolced, just like Li Shangying's famous say that Rain has its magnificant complex meanings.

作为生活表象的自然界中的雨，一旦进入诗歌而上升为艺术意象，便具有深邃的思想启迪意义和隽永的审美意味，从而拓展出了一个广大而幽微的思维与想象空间，所谓&楚雨含情皆有托&。

The images of my God, my conditioning, that I must achieve fame or enlightenment, that I must achieve sess and so I am afraid of being a failure.

我的神，我的条件反应化，我要获得名望或觉醒，我要取得成功因而怕失败等等，这些意象。

Images of Lingodbhava are popular in Tamil Nadu and Shaiva temples normally have an image of this deity on the exterior of the rear or west wall of the main sanctum.

意象的顷庙宇受欢迎在Tamil德邦和Shaiva通常有1密室形象主要此神关于外观的后座或西墙。

The main body of a book with the version thin the research method reading complies with the novel core imago "plateau" starting , analyse Chinese female maternal side Smriti in destiny and the character, life and emotion tragedy of deciphering Ye family three acting woman, accomplish thereby to understanding and explaining on female significance "There be no a character ".

本文以文本细读的研究方法从小说的核心意象——&塬&入手，分析中国女性在命运和性格中的母系传承，从而解密叶家三代女人的生活与情感悲剧，完成对《无字》在女性意义上的解读。

Qinqiang would take on some mysterious persons, spiritualistic animals as well as mystically dangerous images from the nature to reproduce the folk mysterious culture of Shangzhou in virtue of Qingfeng Street.

秦腔》通过对神秘兮兮的人、具有灵性的动物以及充满神秘和危险的大自然等意象的呈现，以期再现以清风街为代表的商州民间神秘文化。

In the foreword, it is the brief analysis of the creative process of the creative subject, telling readers that what we concern about is the study of the subcreative of the creative subject and the study method and the study content of the dissertation. In the first part, it begins with the definition and the process of the subcreative, stepping into the case study of Ge Fei's subcreative, that is what we will study in the dissertation. In the second part, we try to find out the process of Ge Fei's subcreative according to the study method we mentioned in the foreword through the text analysis of the imago combination and the emotion stream in the Ge Fei's texts. In the third part, we summarize how the times and the readings influence the creative subject, through the analysis of the time when Ge Fei lives and the experiences of Ge Fei's reading. In the epilogue, we generalize the significance of the study of the dissertation, hoping that the Ge Fei's case study we do can give the subsequent researchers some revelation.

全文共有五个部分：引言中通过对创作主体创作过程的简析，提出了本文关注的对象是创作主体的潜创作研究，提出了本文的研究方法和研究的主要内容；第一部分以潜创作的界说和过程入手，进入对格非潜创作的个案研究，即本文的研究对象；第二部分按照引言中提出的研究方法，通过对格非文本中的意象组合和情绪化潜流的文本分析，倒推格非的潜创作过程；第三部分总结性地对格非所处的时代背景分析、对影响格非的阅读经验的梳理，理脉时代和阅读对创作主体的影响和作用；结语是对全篇的总结，简括了对格非潜创作研究的意义，并希望通过格非的个案研究对后来的研究者关注潜创作起到一定的启示作用。

Being sure that significance analyses in setting forth Chinese teaching enters second chapters, teaching being the supercrust significance being an objective basis , version that work significance analyses and aspect such as deep significance , the work artistic conception and the visual angle change that the imago , significance analyse mainly about the version content of courses.

第二章阐述语文教学中意义分析的切入，主要是关于文本的教学内容，即作品意义分析的客观依据、文本的表层意义与深层意义、作品的意境和意象、意义分析的视角变化等方面的教学。

As creation material of space-time image, modern ceramics is qualitatively changeable and surfacely treatable.

摘要现代陶艺作为时空意象的创作材料，具有质变性、表面处理性等特征。

Appearance in the simple sense of 'illusion', the false/distorted representation/image of reality ('things are not what they seem' platitudes)- although, of course, a further distinction needs to be introduced here between appearance qua mere subjective illusion (distorting the transcendentally constituted order of reality) and appearance qua the transcendentally constituted order of phenomenal reality itself, which is opposed to the Thing-in-itself

简单的&错觉&意义上的表象，即有关现实的虚假/被扭曲的表征/意象（如那个老生常谈：&事物并不是它们看上去的那个样子&）。当然还要进行深入的区分，即在下列两者之间进行区分：其一是作为纯粹主观错觉的表象（它扭曲了先验地构成的现实秩序），其二是作为先验构成的现象现实的秩序本身，它与物自体截然相对

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。