描写

And if a poet writes of the sufferings of Niobe --the subject of the tragedy in which these iambic verses occur--or of the house of Pelops , or of the Trojan war or on any similar theme, either we must not permit him to say that these are the works of God, or if they are of God, he must devise some explanation of them such as we are seeking; he must say that God did what was just and right, and they were the better for being punished; but that those who are punished are miserable, and that God is the author of their misery-- the poet is not to be permitted to say; though he may say that the wicked are miserable because they require to be punished, and are benefited by receiving punishment from God; but that God being good is the author of evil to any one is to be strenuously denied, and not to be said or sung or heard in verse or prose by any one whether old or young in any well-ordered commonwealth.

如果诗人去描写尼俄柏丧尽儿女令石头也流泪的悲痛——这些悲剧主题在诸如此类的抑扬格诗歌中随处可见——或者去描写佩罗普斯王族的父子相残，或者去描写特洛伊战争之类的主题，那么我们不能允许诗人说这些残暴故事都是神造的孽，就算跟神有关，那也应该解释清楚来龙去脉；他应该说明神帮扶正义和真理，而那些罪人的下场都是罪有应得；而不是去描写受到惩罚的人是如何如何的悲惨，神则是炮制这些悲惨的罪魁祸首——我们是不会让诗人这么去胡编乱造的；然而诗人可以去描写邪恶之人其所以都会其悲惨的结局是因为他们必须遭受惩罚，并因他们接受神的惩罚而使大家受益匪浅；说神代表着善却又是恶的帮凶会遭到所有人的极力反对，诗文中就再也不要去传播、歌唱或者道听途说地去宣扬这些恶事了，秩序井然的联邦中人民不论老少都不应该听到这些恶事。

Chapter one is "Introduction". On the basis of summarizing the history of the study of the pictophonetic characters, we suppose some theoretical principle, such as the principle of the correspondence between the form and the meaning of the individual graph of Chinese characters, the principle of the total graphs of Chinese characters being a character-formation system, and the principle of the optimum development of the character -formation system in the history, and som analytic methods, such as the methods of structrue-function analysis, form-position analysis and meaning factor analysis, in the study of the pictophonetic characters. Chapter two is titled"General knwledge of the pictophonetic character." We discuss their origins, nature and some standards of distingnishing them, introduce the knowledge about the editions of SHUO WEN JIE ZI, analyse the functions of the modules of pictophonetic characters in detail, discuss concretely the function of phonetic graphs showing origins and pronunciations, the function of meaning graphs showing meanings and analogies, and the function of distinguishment when the two kinds of graphs are conbined. Chapter three is"The system of meaning graphs of Xiao Zhuan system."After we describe the structure of the meaning graph system, the relations between meaning graphs, the distributions of the function of meaning graphs showing meanings, and the frequency of all this kind of graphs, we get a table of all meaning graphs, a table of the frequency. Chapter four is"The system of phonetic graphs of Xiao Zhuan system."We describe the structure of the phonetic graph system, the relations between phonetic graphs, and between their function showing origins and their function showing pronunciations, and their frequency, then we get ageneral table of phonetic graphs and table of their frequency. Chapter five is "conclusion". We think that systematical methodology is useful in describing and analysing the formation system of Chinese characters. The methodology is adaptable in describing the formation system of modern Chinese characters as well as the historical character systems, adaptable in describing horizontally as well as comparing vertically. Only when we finish the systematical vertical compare on the base of systematical horizontal decription, could we know the true history of the system of Chinese characters, recover the rule of the system's development, and supply the theoretical supports for the scientifical arrangement of modern Chinese characters.

第一部分—绪论，在总结形声字研究历史状况的基础上，提出了研究形声系统的理论原则和分析方法，即汉字个体字符形义统一的思想，汉字字符集合构形系统的思想，汉字构形系统历史演变系统优化的思想等三项理论原则和结构功能分析法，形位分析法，义素分析法等三种分析方法，还扼要地介绍了具体的工作程序和论文的主要内容；第二部分—形声字概述，论述了形声字的来源、性质和鉴别标准，介绍了对《说文解字》正篆形声字说解中的传抄讹误，版本异文，说解错误校勘和考证的经过，详细分析了形声字构件的功能，具体讨论了声符的示源功能与示音功能，义符的示意功能与类化功能以及声符与义符组合中的相互区别功能；第三部分—小篆字系的义符系统，从义符系统的构成、义符间的相互关系，义符示意功能的分布及义符的构字频度等不同侧面，对义符系统进行了全面的描写，产生了义符总表、义符间意义关系总表和义符构字频度总表；第四部分—小篆字系形声字的声符系统，从声符系统的构成、声符间的相互关系，声符的示源功能与示音功能的关系以及声符的构字频度等不同侧面，对声符系统进行了全面描写，产生了声符总表和声符构字频度总表；第五部分—结束语，在全面测查小篆字系形声字的基础上，对研究汉字的方法和现代汉字发展方向的问题提出了一些看法，认为系统论的方法是描写和分析汉字构形系统行之有效的方法，系统论方法，不仅适用于历史上文字系统的描写，也适用于现代汉字构形系统的描写，不仅适用了断代描写，也适用于历史比较，只有在对汉字断代系统描写的基础上进行系统的历史比较，才能认清汉字系统历史演变的真相，揭示汉字系统发展的客观规律，为科学地整理现代汉字提供理论上的依据。

There many aspects such as the description of people, scene, event, as we ofen detect, in the field of literary description. However,the description of color as embodied receptiveness of the writer's subjectivity is much too often ignored.

作品中的描写又分为方方面面，如人物描写、场景描写、事件描写等等，这些描写都是我们在作品中常常见到的，但是，把色彩的描写融注作者的思想情感之中却常常被人们所忽视。

This thesis mainly expounds an analytical method in structure of the lexicographical sememic description elements, namely the structural trichotomy to the lexicographical sememic description elements.

本文主要阐述了一种对辞书义位描写要素的结构进行分析的方法，即辞书义位描写要素的结构三分方法，该方法将辞书中的义位描写要素从结构上分为核心要素、主干要素、标识要素。

The paper analyses religious factors in works of Turgenev, like east Buddism factor in his description of scenery, Chinese Taoism and philosophy factor in his description of love, and Christianity factor in his descriptions of characters.

本文旨在挖掘屠格涅夫作品中的宗教因素，解读出屠格涅夫在风景描写中对东方佛教的非自觉接受，在爱情描写中对中国道教与哲学的间接接受与申发，在人物描写中对基督教的自觉接受及其艺术表现。

First, some researchers still put emphasis on grammatical descriptions of the evidential systems in some highly-inflectional languages. Second, the researches seem to be confined to the lexis and clausal level, and the study of evidentiality at discourse and genre level is much less than enough. In addition, the review of the research on English RAs has shown that few systematic researches on evidentiality in academic discourse have been conducted. Third, there are few researches on what evidentiality can do for language users and especially on the interpersonal functions of evidentiality.

目前的言据性研究主要集中于以下几个方面：1有些研究者仍然把重点放在一些屈折性语言的据素的语法描写上，而这种语法描写只是问题的一个方面，而且对于英语这样非屈折性语言，对据素的语法描写似乎并没有实际意义。2对言据性的研究大多都还停留在词汇和句子层面，在语篇和语类的层面的研究并不充分，尤其对学术语篇中言据性系统性的研究寥寥。3对言据性在语篇中的人际功能的研究很少。

Mentality depict in Chinese ancient poems have a kind of national character discriminate the west literature works ,that is emotionize mentality depict ,it display deep native character for long time.

中国古代诗歌中的心理描写具有一种有别于西方文学作品心理描写的民族特征，这就是情绪化心理描写，它表现了长期以来民族文化积淀所形成的深厚的民族特性。

In one aspect, BF6 intends to create a fresher and more nutrient fastfood culture. But in the other aspect, BF6 will insist on the principle of low or no depiction of violence, and no directly or any implicatively depiction of sex, with the object that creates an all ages admmited scenario abiding all Chinese laws and without any conflict with Chinese traditional aesthetics.

一方面，脑内快餐6旨在创作更新鲜营养的快餐文化；另一方面，脑内快餐6将以创作遵守中国境内一切法律法规、不与中国传统审美观念冲突的全年龄向剧本为目的，坚持少量或无暴力描写、无性描写和无任何形式的性暗示擦边描写的原则进行创作。。

Finally, because of the difference in cultural background, while the description of sex in JPM mostly gives expression not to healthy demand for sex, but to unhealthy psychology of sex, the one in LCL has a kind of decadent color about western culture, that is to say, a kind of wild indulgence in sex. Through the reversion to humanity and absolute natural quality of bisexual relationship, LCL attempts to rescue western society from slough; however, this kind of primitive and wild description of sex covers up the exposure of capitalist society's corruption, as the excessive one in JPM deadens the criticism to feudal society.

再次是文化背景不同，《金》中的性描写，有许多是病态性心理的反映，并非健康的人类应有的性要求；而《查》的性描写，带有一种西方文化的颓废色彩，是一种野性的性放纵，它企图以人性的复归，即两性关系的纯自然性，来挽救西方社会的沉沦，但这种原始野性式的性表现，反而掩盖了对资本主义社会腐朽的揭露，这正像《金瓶梅》中过多的性描写，也冲淡了对封建社会的批判一样。

According to the author statistics shows that nearly 2000 poems about string instrument of Tang Dynasty in "" The Whole Poetry of Tang Dynasty "", it had reflected all respects of artistic development of string instrument of Tang Dynasty, embody a poet in the Tang Dynasty from describing that kinds of spiritual idea making the poet profound and expresse in the poem of the string instrument in Tang Dynasty, the classical, outstanding poems of the string instrument of Tang Dynasty,the description have worthful historical data value and aesthstic value, it is the rare important wealth on Chinese string instrument art and literature development history, it promote the development of string instrument art after Tang Dynasty, these 2000 poems of string instrument describe the study of Tang Dynasty and give us a lot of artistic value of written historical materials in Tang Dynasty.

据笔者统计：在《全唐诗》中约有2000多首描写唐代拨弦乐器的诗作，在这些诗作中集中体现了唐代拨弦乐器艺术发展的各个方面，从描写唐代拨弦乐器的诗作中折射出唐代诗人抒发的那种令人深邃的精神理念，这些经典、优秀的描写唐代拨弦乐器的诗作具有宝贵的史料价值和美学价值，是中国拨弦乐器艺术与文学发展史上不可多得的重要财富，对唐代以后拨弦乐器艺术的发展，产生了积极影响。这2000多首描写唐代拨弦乐器的诗作，是研究唐代拨弦乐器艺术价值的珍贵文字资料。

Neither the killing of Mr Zarqawi nor any breakthrough on the political front will stop the insurgency and the fratricidal murders in their tracks.

在对危险的南部地区访问时，他斥责什叶派民兵领导人对中央集权的挑衅行为。

In fact,I've got him on the satellite mobile right now.

实际上 我们已接通卫星可视电话了