神话

The Iliad is a well known, and well loved, Greek myth.

伊利亚特》是一部著名的、广受人们喜爱的希腊神话作品。

What is The Iliad talking about?

那是本引人入胜的女神神话书。

However, the presentation of hacking wood is still pastoral, an aesthetic roughness. In contrast, the tone in 'Myth' is not illusively aesthetic at all, nor a mere praise of primitive vital force – in its core, labor is transfigure into a state of intensity, alienation and craziness in modern society; the inner anxiety and conflicts of the modern man is mimically represented, so labor becomes a punishment

然而，影片中对劈柴的表现仍然是牧歌式的，是唯美化的粗犷，相比之下，《神话》的调子绝不是幻美的成分，也不是原始活力的单纯赞歌——在它的核心调性上，劳动被引入了现代社会紧张、异化和疯狂的状态，现代人内心深处的焦虑与冲突感被人与石头的关系尽可能地摹拟与演示出来，劳动，因而成为了苦刑。

Windows of the times is a myth, but it is not immortal god.

Windows是这个时代的神话，但它并不是不死之神。

In ancient mythology there was no impassable gulf separating the divine from the human beings.

在上古神话中，神与人之间没有不可逾越的鸿沟。

Firstly, he represents the figures as porcelain figures to achieve the imagination, subjectivity and frangibility of thoese figures and folk mythologies; Secondly, effeminate, immense and uncontrollable water world enhances the unreality and uncertainty of mythologies and fitures; Thirdly, accumulation and waffling of water bubbles, as well as their mysterious glows clue to people the unreality and impermanency of happiness prayer.

首先，将人物形象表现得瓷偶化，意在神话人物和民间传说的想象性、主观化和脆弱化；其次，柔弱无边、难以把握的水世界增加了人物故事的虚幻性和不确定性；最后，水泡泡的堆积和飘散，还有它们发出的神秘光泽，以更加强烈的形式向人们提示，眼前的幸福祈愿的虚幻性和短暂性。

The concept of telegonic impregnation was expressed in Greek mythology in the origins of Greek heroes.

先父遗传的思想来源于古希腊神话中关于希腊英雄的血统问题。

In time of a short while, in the common life, the love displayed a myth toward us...

就在一会儿的时间里，就在平常的生活里，爱向我们展示了一个神话。。。

This is an order of magnitude higher than the previously reported design in a single reduction gear train.

这比以前的论文中设计的减速器的传动比要高的多，简直是一个神话。

In the opera, just as in the abstract character of our mythless existence, in an art degenerated to mere entertainment as will as in a life guided by concepts, the inartistic as well as life-consuming nature of Socratic optimism had revealed itself to us.

在歌剧上，正如在我们那无神话存在的抽象状态，在堕落为娱乐的艺术上，正如我们凭概念指导的生活方面，我们都见到苏格拉底乐观主义，它既否定艺术，又虚度人生，幸而还有一些使我们快慰的征兆。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。