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欲望

与 欲望 相关的网络例句 [注:此内容来源于网络,仅供参考]

Nietzsche' s Dionysiac theory stresses the Bacchic spirit of breaking through all barriers and obstacles , thus highlighting the physical dimension of egoism and desire.

尼采的酒神理论突出了摧毁一切阻碍的酒神精神,从而凸显出唯我的欲望的躯体向度。

If Bacchus gives an attentive gaze, a divine spirit is then added to the notes.

那么,从不善饮的你,是否也有了端杯的欲望

We are on fire we have desires but one is that way, One backstreet boy is gay.

我们都欲火上身,我们都有欲望,但是有个后街男孩是gay

Behind overlapping pictures, there hide noun or verb, subject or predicate, nonsense, slogan or cant, advertisement or lie, epigram or balderdash, explanation or rhetoric, dialogue or monologue. The unordered, dense, overlapped, and information store-like visual and dream system implies the real world and the desire, anxious, love, hate, limitation, compassion and idealism of the artist.

重重叠影的画面中潜伏着名词或动词、主语或谓语、闲言碎语、标语或黑话、广告或谎言、警句或梦呓、解说或修辞、对话或独白……这个无序的、密集的、重叠的、信息库般的视幻系统,隐喻着世相的繁杂纷纭和艺术家本人的欲望、焦虑、爱憎、局限、悲天悯人以及理想主义。

Through the characters in his novels show the life instinct encounter with the outside ethical world, and this really reveals the conflict of free life desire and ethical environment, and through the winding of divinity and banditry personality revealed the evolution and transformation of human nature.

通过展现其小说中人物的生命本能与外界伦理的相遇,揭示自由而本真的生命欲望与伦理环境的冲突,又通过神性与匪性的缠绕,揭示了人性的嬗变与转化。

Now, he can meet the barbaric nomadic desire to conquer and plunder.

现在,他能满足野蛮的游牧民族的征服和掠夺欲望

Its on the oriental stage that a series of oncoming and dormant Oedipus tragedies-incest tragedies, with which the westerners are so familiar regardless of performance on the somewhere strange stage, are highlights, so that the western spectators not only can enjoy the different exotic cultural charms, but from the commanding perspective fell the superiority of their own culture in this fabricated cultural context featured with backward, isolation and far from the reality. In addition, Zhang prefers to the method of time lagging in the film text formation, so that the textual times usually drag back to the past on purpose such as 1930s, 1940s, per-anti-Japanese war period as well as 1960s and 1970s; apart from this, the far-off areas far from the cultural center are chosen as the film space, all which get together to set up a static, stagnate and hiding Chinese traditional cultural context symbolized by backward, barbarousness and ignorantness to satisfy the male desire.

为了营造这个虚拟舞台,张艺谋影片中的采用了时间的滞后性策略,影片中的故事本文时间均选择了过去:十九世纪三十、四十年代,抗战前期,六七十年代;影片中的本文空间均选择了远离文化中心的边缘地带,通过时间的滞后策略和空间的边缘策略来满足一个停滞的、凝固的、静止的落后而由愚昧野蛮的中国传统文化语境;将处于社会边缘的女性放置在其中,利用观众位置的双重性认同结构,巧妙利用女性这一表层可见视觉中心和读解影片时意义渐隐的策略来遮掩和移位其真正的作者意识形态:即重复再一次对女性的观看,满足东西方男性的窥视欲望

Gayle Turner has performed in Smokey Joe's cafe, Once On This Island, Spunk, the multi-award winning play Constant Star, Little Shop Of Horrors, Abyssinia, Barnstormer, Strange Case Of Marry Lincoln, Black Nativity, Jerusalem Syndrome, New York Musical Theatre Festival, Law And Order Criminal Intent.

盖尔特纳参与的剧目有《欲望咖啡馆》、《小岛情寻梦》、《恐怖奇花》、《阿比西尼亚》、《黑色人种》、《耶路撒冷综合症》、纽约音乐剧节和《法律与秩序:犯罪倾向》。

It is further clear that they will be better and more generous than others; for they despise the acquisition of money and they know the baseness of its existence, and that devotion to it is one of the desires that deviate from nature.

可进一步看清的是,他们会比别人更好和更慷慨,因为他们鄙视金钱的获取,并且得知金钱存在的基础,以及投入金钱是偏离自然的欲望之一。

It is sure to cause vindictiveness after humiliation and will certainly be banished to death beneath contempt.

男性作家作品中的女性的存在,总是透过男性欲望的复杂作用表现出来的。

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