描写地

基本解释 (translations)

descriptively

与描写地相关的网络例句 [注：此内容来源于网络，仅供参考]

He gives due weight to Britain and Ireland in a European setting: the civil war and the spread of Puritanism, the Catholic intolerance of James II and the anti-Catholic Gordon riots as late as the 1780s all argue against the easy assumption that the English were unusually tolerant compared with, say, the French.

在整个欧洲的场景中，作者对大不列颠与爱尔兰都有着相当着重的描写：英国内战、清教徒主义的蔓延，詹姆斯二世时期的天主教偏狭以及到十八世纪八十年代的反天主教的戈登暴乱，所有这一切的描写都是在反对想当然地认为英国人都不同寻常地比法国人更具宽容心。

As I have said, I do not propose to write an ode to dejection, but to brag as lustily as chanticleer in the morning, standing on his roost, if only to wake my neighbors up.

目前要写的，是我的这一类实验中其次的一个，我打算更详细地描写描写；而为了便利起见，且把这两年的经验归并为一年。

In these portion,the article begins the study of tone sandhi from the point view of two-character phrases and three-character phrases,which is also the focus and difficult point as well.On the basis of substantial materials of Dingzhou dialect,the author elaborates its rules and principles of tone sandhi of the general phrases and those with light tones,and reiterative location.the author puts his views as follows: 1.The rules of tone sandhi of two- character phrase are simple and unitive. 2.The complex of the phrase with light tones lies in the combination of the first tone and light tone.In the case,there are two different pronunciations in Dingzhou dialect.The author guesses it is the coexist of ancient pronunciations and common spoken Chinese. 3.The tone sandhi of general three-character phrases on the basis of the rules of that of two- character phrases,using the grammar structure of the three-character phrases as the restricted conduction,which function jointly. 4.The rules of tone sandhi of three- character phrases with light tones are restricted only by that of the two- character phrases with light tones and thus are foreign to grammar structure. 5.The tone sandhi of the words with reiterative location has their own system.

这两章中，作者采用直接调查法，社会语言学方法分别从一般字组、含轻声字组和叠音词字组三个方面对定州方言连读变调进行详尽地描写，文章中既有对连读变调的共时性描写，也有对连读变调历时性推测，总的来讲笔者认为定州方言变调具有一定的系统性，主要表现在以下几个方面：两字组连读变调规律简单统一，含轻声字两字组内部规律较为复杂，但是具有很强的一致性；定州方言含轻声两字组变调的复杂性主要表现在阴平+轻声的组合中，在这种情况下，定州方言有两种读音方式，推测它是语音存古现象和普通话语音并存的结果；一般三字组连读变调以两字组连读变调规律为基础，以三字组的语法结构为制约条件，二者共同发生作用；轻声三字组变调规律只受轻声两字组变调规律的制约，与语法结构无关；叠音词的变调规律自成系统。

But is a hero to say, two contain same place and there is also the place of dissimilitude, homology of place performance at:They all have the spirit to"endure" in the personality, all Be forced to participate in war like and hold to start revolution.

从公元前6世纪印度大史诗《摩诃婆罗多》中对坚战的描写，到中国清朝咸丰年间苗族史诗《张秀眉歌》中对张秀眉的叙述描写，都共同地反映了一个主题——"讴歌正义，颂扬英雄"，这一思想正是两首史诗的精髓所在。

In terms of concrete fantasy techniques and fantasy details description, techniques used in One Hundred Years of Solitude are obviously shown in his novels no matter the appearance and disappearance of devils, setting of odd people, fairies and sagas or prophecy, ridiculous description and hyping misshape.

其次，扎西达娃后期的魔幻小说同样营造出了一个魔幻与现实交融的世界，就具体魔幻手法和魔幻细节描写而言，无论是鬼魂出没、离奇人物的设置、神话与传说，还是预言和预兆、荒诞描写和夸张变形，都清晰地留有《百年孤独》中同种手法的影子。

And if a poet writes of the sufferings of Niobe --the subject of the tragedy in which these iambic verses occur--or of the house of Pelops , or of the Trojan war or on any similar theme, either we must not permit him to say that these are the works of God, or if they are of God, he must devise some explanation of them such as we are seeking; he must say that God did what was just and right, and they were the better for being punished; but that those who are punished are miserable, and that God is the author of their misery-- the poet is not to be permitted to say; though he may say that the wicked are miserable because they require to be punished, and are benefited by receiving punishment from God; but that God being good is the author of evil to any one is to be strenuously denied, and not to be said or sung or heard in verse or prose by any one whether old or young in any well-ordered commonwealth.

如果诗人去描写尼俄柏丧尽儿女令石头也流泪的悲痛——这些悲剧主题在诸如此类的抑扬格诗歌中随处可见——或者去描写佩罗普斯王族的父子相残，或者去描写特洛伊战争之类的主题，那么我们不能允许诗人说这些残暴故事都是神造的孽，就算跟神有关，那也应该解释清楚来龙去脉；他应该说明神帮扶正义和真理，而那些罪人的下场都是罪有应得；而不是去描写受到惩罚的人是如何如何的悲惨，神则是炮制这些悲惨的罪魁祸首——我们是不会让诗人这么去胡编乱造的；然而诗人可以去描写邪恶之人其所以都会其悲惨的结局是因为他们必须遭受惩罚，并因他们接受神的惩罚而使大家受益匪浅；说神代表着善却又是恶的帮凶会遭到所有人的极力反对，诗文中就再也不要去传播、歌唱或者道听途说地去宣扬这些恶事了，秩序井然的联邦中人民不论老少都不应该听到这些恶事。

Chapter one is "Introduction". On the basis of summarizing the history of the study of the pictophonetic characters, we suppose some theoretical principle, such as the principle of the correspondence between the form and the meaning of the individual graph of Chinese characters, the principle of the total graphs of Chinese characters being a character-formation system, and the principle of the optimum development of the character -formation system in the history, and som analytic methods, such as the methods of structrue-function analysis, form-position analysis and meaning factor analysis, in the study of the pictophonetic characters. Chapter two is titled"General knwledge of the pictophonetic character." We discuss their origins, nature and some standards of distingnishing them, introduce the knowledge about the editions of SHUO WEN JIE ZI, analyse the functions of the modules of pictophonetic characters in detail, discuss concretely the function of phonetic graphs showing origins and pronunciations, the function of meaning graphs showing meanings and analogies, and the function of distinguishment when the two kinds of graphs are conbined. Chapter three is"The system of meaning graphs of Xiao Zhuan system."After we describe the structure of the meaning graph system, the relations between meaning graphs, the distributions of the function of meaning graphs showing meanings, and the frequency of all this kind of graphs, we get a table of all meaning graphs, a table of the frequency. Chapter four is"The system of phonetic graphs of Xiao Zhuan system."We describe the structure of the phonetic graph system, the relations between phonetic graphs, and between their function showing origins and their function showing pronunciations, and their frequency, then we get ageneral table of phonetic graphs and table of their frequency. Chapter five is "conclusion". We think that systematical methodology is useful in describing and analysing the formation system of Chinese characters. The methodology is adaptable in describing the formation system of modern Chinese characters as well as the historical character systems, adaptable in describing horizontally as well as comparing vertically. Only when we finish the systematical vertical compare on the base of systematical horizontal decription, could we know the true history of the system of Chinese characters, recover the rule of the system's development, and supply the theoretical supports for the scientifical arrangement of modern Chinese characters.

第一部分—绪论，在总结形声字研究历史状况的基础上，提出了研究形声系统的理论原则和分析方法，即汉字个体字符形义统一的思想，汉字字符集合构形系统的思想，汉字构形系统历史演变系统优化的思想等三项理论原则和结构功能分析法，形位分析法，义素分析法等三种分析方法，还扼要地介绍了具体的工作程序和论文的主要内容；第二部分—形声字概述，论述了形声字的来源、性质和鉴别标准，介绍了对《说文解字》正篆形声字说解中的传抄讹误，版本异文，说解错误校勘和考证的经过，详细分析了形声字构件的功能，具体讨论了声符的示源功能与示音功能，义符的示意功能与类化功能以及声符与义符组合中的相互区别功能；第三部分—小篆字系的义符系统，从义符系统的构成、义符间的相互关系，义符示意功能的分布及义符的构字频度等不同侧面，对义符系统进行了全面的描写，产生了义符总表、义符间意义关系总表和义符构字频度总表；第四部分—小篆字系形声字的声符系统，从声符系统的构成、声符间的相互关系，声符的示源功能与示音功能的关系以及声符的构字频度等不同侧面，对声符系统进行了全面描写，产生了声符总表和声符构字频度总表；第五部分—结束语，在全面测查小篆字系形声字的基础上，对研究汉字的方法和现代汉字发展方向的问题提出了一些看法，认为系统论的方法是描写和分析汉字构形系统行之有效的方法，系统论方法，不仅适用于历史上文字系统的描写，也适用于现代汉字构形系统的描写，不仅适用了断代描写，也适用于历史比较，只有在对汉字断代系统描写的基础上进行系统的历史比较，才能认清汉字系统历史演变的真相，揭示汉字系统发展的客观规律，为科学地整理现代汉字提供理论上的依据。

Complete, the strict plot structure also is " Le Rouge et le Noir " in the artistic characteristic.

作品中描写的3个重要环境——唯利是图的维里埃市、虚伪阴险的神学院、腐朽反动的拉莫尔侯爵府，体现了王朝复辟时期的社会全景和时代风尚，是于连性格形成和发展的依据，使得他矛盾复杂的性格显得更真实、更可信、更具典型性。2、斯丹达尔善于根据人物的社会地位和生活环境细致地描写人物心理，并通过展示人物的内心世界刻画人物性格。3、完整、严密的情节结构也是《红与黑》艺术上的特色。

In this work, Stendhal order to maximize the reader's attention focused on the inner world of characters, he has a conscious objective to reduce the physical world and the characters of the description of the external characteristics, even if the description in this regard also have been of the mind.

在这部作品中，司汤达为了把读者的注意力最大限度地集中到人物的内心世界来，他有意识地缩减对客观物质世界及人物外部特征的描写，即使有这方面的描写，也都已经心灵化了。

Weigel furnishes fewer of the humanizing details about Wojtyla's childhood,adolescence, and early priesthood than Kwitny did, instead providing much more and deeper cultural context for Wojtyla as a Polish writer and intellectual and fuller, more theologically and philosophically oriented discussion of Wojtyla's thought and actions as a churchman, especially after he became John Paul II.

比起克维尼，威格尔对沃依蒂瓦儿时，青少年和早期教士的生活细节描写较少，反之，威格尔详尽而深刻地描写了他作为一位波兰作家，智者和漂洗工的生活，更多地从神学和哲学角度上讨论沃依蒂瓦作为一位牧师的思想和行为，特别是当他被选为约翰保罗二世以后。

与描写地相关的网络解释 [注：此内容来源于网络，仅供参考]

bazar：市场

"市场"(bazar)一词源出波斯语,原指波斯城镇中公共交易的场所,后来这个词流传到了阿拉伯国家、土耳其和北非等地,意义未变. 本书对市场有多种描写,>一篇专门描写了君士坦丁堡的市场:占地一方,建筑华丽;规模宏大,摊贩云集;

Fats Waller：费兹.华勒

小镇上地居民通力合作,决定拍摄一部描写爵士乐界地传奇人物费兹.华勒(Fats Waller)地传记片,由于养父弗莱彻先生不断地灌输,迈克也一直坚信小店所在地房子,正是费兹.华勒延生并生活过一段日子地地方.

Napoleon：拿破仑传

后记埃米尔.路德维希(EmilLudwig)的>(Napoleon)是拿破仑传记中的经典作品之一. 它有两个显著的特点:第一,将史实与心理描写有机地结合起来. 作者在后记中称,此书意在"描写拿破仑的内心历程",但为了避免因此而产生虚构之嫌,

portray：描写

[写作指导] 描写(Portray)就是用生动、形象的语言将人物、事物、景物等的特征和性质活灵活现地刻画或描绘出来,使读者如见其人、如闻其声、如临其境. 为了使人或事物的特征跃然纸上,我们往往在写文章时把叙述和描写结合起来.

describe in clear, well-chosen words, with lifelike effect：生动逼真地描写

She paints well; she may become an artist. 她画得很好... | 2) describe in clear, well-chosen words, with lifelike effect 生动逼真地描写 | His letters paint a wonderful picture of his life in China. 他的...

year after year：年年,每年

write up 把...写成文;详细描写 | year after year 年年,每年 | year in year out 年复一年地,不断地

poetize：有诗意地描写

poetics 诗学 | poetize 有诗意地描写 | pogo 该游戏的工具

underdraw：不充分地描写或叙述

anonymous book 匿名图书, 隐名图书 | underdraw 不充分地描写或叙述 | settling classifier 沉降分级器

Napoleon：拿破仑传

后记埃米尔.路德维希(EmilLudwig)的<<拿破仑传>>(Napoleon)是拿破仑传记中的经典作品之一. 它有两个显著的特点:第一,将史实与心理描写有机地结合起来. 作者在后记中称,此书意在"描写拿破仑的内心历程",但为了避免因此而产生虚构之嫌,

diagrammatically：用图解法地

19、depict 描述、描写 | 20、diagrammatically 用图解法地 | 21、physical works 实际构筑物