意象

On the poetics level, using a irrational female-genesis to self-explaining; using a "body-writing" as a self-domination, making a self-realization by ways of "dark","blood","death", such as those feminine imagination; making a self-represent ion by "monologue". On cultural consciousness level, takinga self-searching on reconsidering woman's status and ending in love; taking a self-awaking by showing what a mother had "done" for daughter in order to serve and maintain man society; introducing a self-remolding through recover and rebel the man ideology; be self-awakening and oppugning the man-centre society, within its cultural "make","assimilation" to female herself.

本文从两个方面来集中分析《女人》显示出的的&女性意识&：在诗学审美形态上，以非理性的女性&创世神话&题材来解释&自我&；以&躯体写作&的方式来支配&自我&；以&黑夜&、&血&、&死亡&等&阴性意象&来认识&自我&；以&独白&的方式来表达&自我&；在文化意识形态上，以对爱情中女性地位和结局的重新思考来寻找&自我&；以&母亲&对&女儿&的&塑造&来揭示&母亲&作为男权社会的&服务者&和&维护者&形象达到警醒&自我&；对男性文化意识形态的还原和反叛来解构男性中心文化并重铸&自我&；在辨认&自我&的觉醒中将质疑引向对男性中心社会及其所预置的文化秩序和&被造&、&被同化&的女性自身。

The subjects include, among them, to seek the ideal of free life, to criticize hypercritical society and to reflect the principles of life and society, while the eminent themes are, for example, presenting poems in feasting and drinking, peregrinating and enjoying landscape, etc.

文章认为，表达追求自由人生理想、批判虚伪时世、反映人生社会之理，是玄言诗的主题构成，宴饮赠答和游历赏景，则是它的两种突出题材；玄言诗里的人物形象和自然意象，实质上都是对于某种玄理的传达和阐解，因而，概括抽象性大于具体生动性、象征性多于描述性，是它们的共同特点。

This article through explaining "Western Chamber" which evolves to the classics production by reorganizing the subject, by the cultural esthetical criticism method, excavates "the wall" image which polymerizes and inherits in the Chinese classical esthetic culture and inquires into the culture connotation which contains the humanity emotion demand;promulgates the cultural production mechanism and esthetics value characteristic of the classical text;inspects the riddle of classical art which has eternal charm.

本文通过解读《西厢记》主题嬗变到经典生成的过程，运用文化美学的批评方法，发掘出了&墙&意象在中国古典审美文化中的传承聚合，探究其中蕴涵的人类情感需求这一思想文化意蕴，揭示经典文本的文化生成机制与美学价值特征，考察经典艺术的永恒魅力之谜。

This article through explaining "Western Chamber" which evolves to the classics production by reorganizing the subject, by the cultural esthetical criticism method, excavates "the wall" image which polymerizes and inherits in the Chinese classical esthetic culture and inquires into the culture connotation which contains the humanity emotion demand;promulgates the cultural productionmechanism and esthetics value characteristic of the classical text;inspects the riddle of classical art which has eternal charm

本文通过解读《西厢记》主题嬗变到经典生成的过程，运用文化美学的批评方法，发掘出了&墙&意象在中国古典审美文化中的传承聚合，探究其中蕴涵的人类情感需求这一思想文化意蕴，揭示经典文本的文化生成机制与美学价值特征，考察经典艺术的永恒魅力之谜。

This paper mainly includes two parts The first part falls into three main sections. First, it analyses the formative causes of the Chinese traditional house interior display art through five aspects, including the structure and forms of Chinese traditional architecture, the productive mode of Chinese traditional society, Chinese traditional philosophy, the idea of ethics and grading and custom of Chinese traditional society. Second, it briefly introduces the history of Chinese traditional house interior display art's development. Finally, it focuses on the analysis of Chinese traditional house interior display art's design ideas and concludes that its design ideas embodies the five sides as follows: respect for nature and imitate artfully nature, practical-oriented and function incorporated into form, images of space of what the theory and practice forms, balanced natural pattern of the display, artifacts with the thoughts and respect for poetic imagery. Another part of the article further researches on the application of Chinese traditional house interior display ideas to the contemporary home display, and leads to the author's view, that is that each era should has its own character when it inherits the traditional culture. What's more, the contemporary Chinese-style home display design not only have to take over the spirit of the tradition but also have to give full consideration of the contemporary aesthetic concepts, principles and methods. In the 21st century, humanistic care is greatly proponed in the interior design. The interior display art should develop towards the ecological, personalized and comfortable direction and the cultural dimensions. It should absorb the traditional cultural elements to decorate contemporary living space. In order to upgrade the simple and primary "appearance likeness" to a higher level of "spirit likeness", it must effectively grasp the poetic imagery of space, which can reach the artistic effect of "both appearance and spirits".

本文的重点内容有两部分：一部分是从中国传统建筑的结构形式、中国传统社会的生产方式、中国传统的哲学观念、中国传统的伦理等级观念、中国传统社会的风俗习惯等五个方面简单分析了中国传统民居室内陈设艺术形成的原因；简要介绍了中国传统民居室内陈设艺术的发展过程；着重对中国传统民居室内陈设艺术设计理念的具体内涵进行了深入的分析，总结出其设计理念集中体现在五个方面，即崇尚自然与巧法造化、实用为本与文质彬彬、虚实相生的空间意象、均衡自然的陈设格局、器以载道与以境为尚；另一部分是对中国传统民居室内陈设设计理念在当代居室陈设设计中的应用作了较深层次的探讨，并提出了自己的见解，即每个时代对传统文化的继承都应该呈现出自己的特色，当代中式风格的居室陈设设计既要秉承传统民居室内陈设艺术的设计精髓，又要充分考虑当代审美观念、原则和方法的融入。21世纪，室内设计大力提倡人文关怀，具体到室内陈设艺术设计上，应该向生态化、个性化、舒适化和文化层面发展；吸收传统文化元素装饰当代居室空间，要有效地把握空间意境，使当代中式风格的居室陈设设计从简单、初级的&形似&上升到较高层次的&神似&，进而追求&形神兼备&的艺术效果。

Furthermore, specific ritual foods, such as sticky rice and millet, are frequently manipulated to generate sensor y experiences and to objectify past images. In contrast to the rapid changes and constant conflict that characterize daily life, the Saisiyat dynamically re-construct social relations, transmit cultural values, and embody linkages with the past through reproducing and re-enacting food symbols in rituals.

藉由对赛夏食物的分析，本文一方面探讨食物符码，对人群关系界定和社会类别概念传递的作用；另一方面并进一步讨论赛夏人在仪式行动中，运用特殊食物衍生的具体意象和感官经验，跨越真实世界的时间流变，回溯过去并体现时间连结，形成记忆与认同建构的基础。

The design model presented in this thesis considers the technical nature of flexible electronics and the interaction between human and objects as the input elements to be decomposed and recomposed for transformation. The results showed that this model suggests specific directions for design thinking, and can be used to expand application fields of new technologies in product design.

研究结果显示，从使用者需求的角度出发，以软性电子的技术本质及人与物的互动关系为元素，应用不同意象之拆解与重组的转化方法所建构之设计模式，可为设计师提供明确的设计方向与思考展开，扩大新技术的产品应用范围。

Lu Xun reconsiders the existence and nothingness of life when family affection,love,joy and happiness fades.

1在小说中鲁迅运用繁复的意象，象征的手法，晦涩的语言叙说涓生和子君的爱情悲剧。

The image of folk sights is the result that the author recounts and narrates in the...

小说中民俗风物的意象化是作者叙事建构的结果。

The image of folk sights is the result that the author recounts and narrates in the stories.

小说中民俗风物的意象化是作者叙事建构的结果。

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。