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Simply representing the terrain so that it could calculate how to traverse it turned out to be Ambler's curse.

即使只是简单地描绘出地形,让自己可以计算出行动的路径,也成了"漫步者"的噩梦。

Simply representing the terrain so that it could calculate how to traverse it turned out to be Ambler 's curse.

即便只需要简单地描绘出地形以便自己可以计算出行动的途径,也成了"漫步者"的噩梦。

Grosz's exquisite drawings depicting the excesses of the Weimar Republic also include a series called "The Robbers", a world of sleek black- marketeer s and industrialists, war cripples and plump prostitute s, as well as militarist s who have learned nothing from their experiences.

Grosz 细腻地描绘了魏玛共和国的过分行为。 Grosz 还创作了一个名为" The Robbers "的系列作品,作品展现了一个充满油滑的黑市商人和工业家,战争中受伤腿瘸的人和丰满的妓女,还有不吸取教训的军国主义者的世界。

The realistic characterization of the two heroines, the shifting perspectives of the narrator, as well as Thackeray's critical silence upon Becky's alleged adultery and murder, all contribute to the breaking-down rather than the establishing of"a novel without a hero".

书中对于两位女主角的现实主义描绘,小说叙事者模棱两可、变幻不定的立场和视角,以及萨克雷在贝姬是否叛夫和谋杀两个问题上的沉默都削弱了、而不是加强了小说的道德劝诫。

This essay focuses on the discussion of landscape representation in Robert Louis Stevenson's three travel writings: An Inland Voyage (1878), Travels with a Donkey in the Cevennes (1879), and In the South Seas (1896). Three questions are analyzed in the landscape representation of the three travel writings: first, how the traveller's cultural discourses are embodied in the travel writings; second, how the travelling self interacts with the Other; and thirdly, how the traveller constructs his self.

中文摘要/本论文主要讨论史蒂文生三部旅行书写——《内河航行记》(An Inland voyage, 1878)、《赛凡斯山偕驴同行》(Travels with a Donkey in the Cevennes, 1879)、与《南太平洋记行》(In the South Seas, 1896),以这三部旅行书写中的地景再现来讨论旅行文本中的地景描绘如何呈现旅行者既有的文化论述、旅行者与他者的互动、以及旅行者的自我建构。

Chanter of Personality, outlining what is yet to be

作为个性的歌唱者给未来描绘蓝图

They were sometimes shown in groups in cemeteries or underground passages, and often appeared to be in battle over their prey -- or rather, their treasure-trove. And what damnable expressiveness Pickman sometimes gave the sightless faces of this charnel booty! Occasionally the things were shown leaping through open windows at night, or squatting on the chests of sleepers, worrying at their throats.

有时候它们成群结队的来到墓地或者地道里,争夺尸体——算是猎物,或者不如说是宝贝,而且这些尸体脸上的表情是多么的扭曲啊……**有几幅画里头描绘着另外的景象:一群这样的生物在夜间把别人家的窗户打开,鱼贯跳入,或是蹲在睡者的胸上,撕咬着那可怜人的喉咙。

He became a chronicler of contemporary history in 1834, when he produced stunning images of the burning of the houses of parliament.

当透纳1834年完成了这幅描绘国会大厦失火事件的大作后,他成了那个年代历史的记录者。

Since Hitler had been funding an Arabic-language newspaper that depicted the Führer as the great liberator, intent on freeing downtrodden peoples from the twin evils of colonialism and communism, Lafont had the idea of reinforcing the German and collaborationist ranks by forming a squadron of fighters drawn from the immigrant population.

一家受希特勒资助的阿拉伯语报纸将"元首"描绘为伟大的解放者,挽救人民于殖民主义和共产主义双重迫害的水火之中。

Captain Fannicot, a bold and impatient bourgeois, a sort of condottiere of the order of those whom we have just characterized, a fanatical and intractable governmentalist, could not resist the temptation to fire prematurely, and the ambition of capturing the barricade alone and unaided, that is to say, with his company. Exasperated by the successive apparition of the red flag and the old coat which he took for the black flag, he loudly blamed the generals and chiefs of the corps, who were holding council and did not think that the moment for the decisive assault had arrived, and who were allowing "the insurrection to fry in its own fat," to use the celebrated expression of one of them.

法尼各上尉是一个性情急躁和冒险的小市民,在维护秩序的队伍中他是一个类似雇佣兵那样的角色,这种人我们已描绘过他们的特性,他是个狂热而无法无天的政府至上主义者,他不能抑制冲动要提前开火,并有着由他带领连队单独取下街垒的野心,他在接连看到红旗后又见到把旧衣当作黑旗,这使他怒不可遏,于是破口大骂那些在开会的将军和军团长们,因为他们认为总攻的决定性时刻尚未到来,根据他们间的一句名言,那就是"让反抗者在他们自己的肉汁中煮熟吧"。

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