语词

The contrary words expand language's extension, the contrast of narrating provides an effect of twists and turns in a limited space and his departure from daily experience renders his poem with more reflective senses and philosophic coloring.

语词的矛盾可使诗的语言扩大张力，叙述的反差使得诗歌在短小的篇幅中有一波三折的效果，而对日常经验感知的偏离又使徐玉诺的诗带有更多的思索意义和哲学色彩。

But those of us who have been impressed by the anti-Platonic, anti-essentialist, historicizing, naturalizing writers of the last few centuries (people like Hegel, Darwin, Freud, Weber, Dewey, and Foucault) must either become cynical or else put our own tortured private constructions on these ritual phrases.

但是我们中的一些受那些过去几个世纪以来反柏拉图、反本质主义、历史化，自然化作家的影响（这是人像黑格尔，达尔文，佛洛依德，杜威，福柯）的人必然或者变得玩世不恭，或者把我们自己纠结着痛苦的个人想法构成放在这些仪式性的语词上。

In brief, Cao Xueqin proffers a canon: a writer can intrude into his works and "tell" emotion, in which, however, he should bring us to believe that every emotion word for telling is arranged rationally, and able to express the uniqueness or the universality of emotion.

总之，曹雪芹为我们提供了这样的典范：作家可以闯入作品，情感可以讲述，只是，他必须使我们相信，每一个情感讲述语词的运用都是经过合理安排的，都能充分地表现情感的独特性或普遍性。

To prove the emotion words for telling are important and even indispensable to depict characters of novels,and A Dream of Red Mansions proffers a canon about that,this paper provides a systematic investigation of these words of the classic,including four steps: the depiction of looks,actions, words and minds of the characters in the novel.

该文从四个方面：外貌的描摹，言语的描写，行为的说明，心理的刻画，阐述了《红楼梦》人物描写中情感讲述语词的运用情况。

We can give multiple application to a word by a procedure of pointing and stipulating.

例如，我们能给一个语词多重使用，通过一个指向、规定的程序。

Many English prefixes and suffixes come from Greek.

许多英语词的前缀和后缀来自于希腊语。

Many English loan words are introduced into Chinese language. The loan words, by the popularity they enjoy in campus, are classified into five categories. The first is the Transliterating Word, which comes directly from sound-like English words.

许多英语借词进入了汉语，根据借词在大学校园中的流行程度，将其分为五类：第一类是音译词，即用汉语中与某英语单词发音相似的字直接译出该英语词。

The traditional research pass wades the point of departure when we researches language problem in the modern new poetry is usually the static-state linguistics, i.e., it explains the rhythm, rhyme and choice of vocabulary from the opposite static layer of the phrase, such as the pure phrase logic and the grammar layer and so on. Though this kind of angle of view of does major contribution in studying language of the modern new poetry, it also brings the irregularity of analysis equally, because its abstract and regular analytic method can't correspond with the modern new poetry whose expression of character is freedom and immediate, and thus obstructs us to have further cognition of the language of the modern new poetry.

传统的关涉现代新诗语言问题的研究的出发点往往是静态语言学，也就是从单纯的语词逻辑、语法层次等相对恒定的语言层面来阐释现代新诗的音韵、节奏乃至词汇选择，这种语言视角尽管为现代新诗的语言研究做出了重要贡献，但同样也带来诸多分析上的弊端，它的这种定型的归纳和抽象的规则化分析方法无法更好地切入到以自由和随即为表述特征的现代新诗语言，也就在一定程度上阻碍了人们对现代新诗语言的进一步认知。

It seems likely that the Middle English form tenetz is from tenetz, an Anglo-Norman variant of the Old French word tenez, the imperative of tenir,"to hold," and meaning "receive," said by the server to his opponent.

而中古英语的tenetz 有可能是从 tenetz 这个古法语中的盎格鲁-诺曼变体 tenez 得来的。而该古法语词又是tenir 一词的祈使式，意为&抓住，握住&，而发球人对其对手说时意义为&接住&。

This word is derived from a Hebrew and Greek word denoting a reed or cane.

这个字是来自希伯来语和希腊语词指芦苇或拐杖。

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。