隐喻

In essence, metaphor is a perceptual and conceptualizing tool, by which man understands the changing world around.

因此，隐喻远不止是一种修辞，它事实上是人类生存主要的和基本的方式。

Metaphor in essence is a perceptual and conceptualizing tool, by which human beings understand the surrounding world.

隐喻在本质上是人类用来了解周围世界的概念工具。

Different time metaphors are formed by conceptualizing time in the target domain in terms of different concepts as source domains.

将不同的概念域作为始源域来认知时间这一目标域，也就形成了不同的时间隐喻。

Each came with overt or implicit, sometimes very powerful, metaphors for conceptualizing design.

每个用在概念设计上的方法，都有着一些含蓄的、不言明的、有时是效果富有力量的隐喻。

Each came with overt or implicit, sometimes very powerful, metaphors for conceptualizing design.

每个用在概念设计上的方法，都有著一些含蓄的、不言明的、有时是效果富有力量的隐喻。

The variousfeatures of each type of metaphor are carefully analyzed and contrasted with those of other types.

作者对隐喻的某些句法、语义、认知和修辞特点进行了充分的讨论。

They are so conventionalized that speakers may not be conscious of their being metaphorical.

他们是如此规约，发言可能不会意识到自己正在隐喻。

Combining signs of the city and the wolf totem-representing civilization counterbalancing nature and a contrast between city culture and the natural state-this set of works shows the artist's cautious and precise attitudes. Rijin uses this contradicting structure to reveal extreme and pure truth, as well as visually display the relationship between the two formations.

论证性的运用象征文明进步特征的城市符号与自然生态形象特征的物像狼图腾，在交错的城市文化与自然形态文化的对比中，坦言了艺术家自身谨慎的生存态度，经过隐喻的矛盾结构，展示了极端、纯粹的事像真实，理性的评断了两大形态主题的关联性。

In proof of this interpretation, examples are quoted from scripture, as:"The seven kine are seven years"(Genesis 41:26) or:"Sara and Agar are the two covenants"(Galatians 4:24), Waiving the question whether the verb "to be" of itself can ever be used as the "copula in a figurative relation" or express the "relation of identity in a metaphorical connection", which most logicians deny, the fundamental principles of logic firmly establish this truth, that all propositions may be divided into two great categories, of which the first and most comprehensive denominates a thing as it is in itself (eg "Man is a rational being"), whereas the second designates a thing according as it is used as a sign of something else (eg,"This picture is my father").

在证明这一点的解释，例如引述经文为：&七凯恩斯是七年&（创41：26 ），或者：&萨拉和琼脂是两个人权公约&（加拉太4时24分），免收问题是否动词&，以&的本身都不能被利用为& Copula的一种形象化的关系&或表述&的关系，身份，在一个隐喻性联系&，其中最logicians否认的，基本原则的逻辑，牢固树立了这个真理，即所有的主张，可分为两个大类，其中第一和最全面的denominates一件事情，因为这是在自己（如：&人是一种理性的&），而第二指定事据，因为它是用来作为标志的东西，别人（例如，&这张照片是我爸爸&）。

The packed planes imply a cramped space (as John Locke's "Private Room of Mind"), either overly lit or too dim because of camera flash, and the observer behind the camera. The flat square disarranges the domain allotment between subject and object or the observer and the observed. The lack of depth gives the observer a superior status as a judge in a secretive trial that has been carefully arranged by the artist. The scene provokes a lot of doubt in the mind of the audience and they feel they are exiled.

尹朝辉的作品多以拥挤的画面象征忧郁狭小的房间（暗喻洛克John Locke的「心灵所在的私室」），光线过亮或不足、强烈急促的光影表现，隐喻了闪光灯和观察者的存在，压平的四方造型拉近且打乱了主体和客体／观察者和被观察者的场域分配，毫无景深的视觉提示则赋予房间内的主动观察者更高阶的审判者的地位，但艺术家刻意营造的匿名性却又将这一连串的审判过程私密化，徒留给被动观察者一连串的疑问，以及成为局外人的被抛弃感。

As she looked at Warrington's manly face, and dark, melancholy eyes, she had settled in her mind that he must have been the victim of an unhappy attachment.

每逢看到沃林顿那刚毅的脸，那乌黑、忧郁的眼睛，她便会相信，他一定作过不幸的爱情的受害者。

Maybe they'll disappear into a pothole.

也许他们将在壶穴里消失