英国人风格

基本解释 (translations)

Britishness

与英国人风格相关的网络例句 [注：此内容来源于网络，仅供参考]

The art of fiction, as Jane Austen knew it, declined from her through Scott, and Bulwer, and Dickens, and Charlotte Bronte, and Thackeray, and even George Eliot, because the mania of romanticism had seized upon all Europe, and these great writers could not escape the taint of their time; but it has shown few signs of recovery in England, because English criticism, in the presence of the Continental masterpieces, has continued provincial and special and personal, and has expressed a love and a hate which had to do with the quality of the artist rather than the character of his work.

jane的小说技巧，在她之后就开始没落了，Scott， and Bulwer， and Dickens， and Charlotte Bronte， and Thackeray， and even George Eliot(这些都是Jane之后的作家，你可以在金山上查到详细的资料)都没怎么采用她的风格，因为欧洲人骨子里有着狂热的浪漫主义，而这些伟大的作家也没有能够摆脱他们时代的感染。在英国，也没有什么恢复的迹象，面对着欧洲大陆上的伟大作品，英国的评论依然本土化，特殊化，个人化，他们对于作家表现出了强烈的爱，憎，而不是对于他们的作品人物。

We may be moved and induced by the testimony of the Church of God, to an high and reverent esteem of the Holy Scriptures; 1Ti 3:15 , and the heavenliness of the matter, the efficacy of the doctrine, and the majesty of the style and the consent of all the parts, the scope of the whole,(which is to give all glory to God,) the full discovery it makes of the only way of man's salvation, and many other incomparable excellencies, and its entire perfections, are arguments whereby it does abundantly evidence itself to be the Word of God; yet, notwithstanding; our full persuasion, and assurance of the infallible truth, and its divine authority, is from the inward work of the Holy Spirit, bearing witness by and with the Word in our hearts.

1Jo 2：20，27 Joh 16：13，14 1Co 2：10-12 Isa 59：21 5 ），我们可能会提出和诱导的证词神的教会，以一个高reverent自尊的圣经； 1ti 3：15 ，和heavenliness的问题，效能的原则，以及英国的风格和同意，所有的部件，其范围整体而言，（这是让所有的荣耀归于上帝，）充分发现它的唯一途径，以人的救赎，以及其他许多无法比拟的阁下，并在其整个完善，是论点，即它充分证据证明自己是上帝的话，可是，尽管我们的全力劝说，并保证该不会犯错误的事实，它的神圣权力，是来自外来的工作，圣灵，同时据现场目击者和与这个词在我们的心中。

His style was indistinguishable from that of an Englishman; and yet he was not an Englishman.

他的风格和英国人没有两样，可是他并非英国人。

In point of utility, the chu or the fan was only slightly more useful than an Englishman's monocle, but they were all parts of the style of conversation, as a cane is a part of the style of walking .

由实利的观点上说起来，鏖或扇比英国人的单眼镜稍微较有用处，可是它们全是谈话的风格的一部分，正如手杖是散步的风格的一部分一样。

Bar-Yosef argues that the Protestant practice of internalizing Biblical vocabulary--"Promised Land,""Chosen People,""Jerusalem"--and applying it to different, ofttimes contesting, visions of England and Englishness induced a unequalled significance of ambivalency towards the whiskers want to possess the Holy Land.

酒吧，优素福认为，圣经词汇的内在新教传统-"乐土"，"选择的人，""耶路撒冷"-并应用到不同的，常常争夺，英格兰的愿景和英国风格独特引起的矛盾心理意识对渴望拥有的帝国的圣地。

Although the style of fighting which involves kicking a man when he is down, gouging out his eyes, and kicking him in the testicles does not appeal to the average American, we must forget the Marquise of Queensberry and his often violated rules of sportsman like combat when dealing with our Jap and Nazi enemies.

尽管这种风格的格斗包括一些普通美国人难得见到的东西：当对手倒地时猛踢他、挖他的眼睛、踢他的裆，但是在对付日本和纳粹敌人的时候，我们必须忘记那位昆士伯利的侯爵以及他那种经常犯规的竞技运动式格斗的规则（指英国"昆士伯利拳击规则"——译注）。

Although the style of fighting which involves kicking a man when he is down, gouging out his eyes, and kicking him in the testicles does not appeal to the average American, we must forget the Marquise of Queensberry and his often violated rules of sportsm

尽管这种风格的格斗包括一些普通美国人难得见到的东西：当对手倒地时猛踢他、挖他的眼睛、踢他的裆，但是在对付日本和纳粹敌人的时候，我们必须忘记那位昆士伯利的侯爵以及他那种经常犯规的竞技运动式格斗的规则（指英国"昆士伯利拳击规则"——译注）。

Bar-Yosef argues that the Protestant practice of internalizing Biblical vocabulary--"Promised Land,""Chosen People,""Jerusalem"--and applying it to different, ofttimes contesting, visions of England and Englishness induced a unequalled significance of ambivalency towards the whiskers want to possess the Holy Land.

酒吧，优素福认为，圣经词汇的内在新教传统-&乐土&，&选择的人，&&耶路撒冷&-并应用到不同的，常常争夺，英格兰的愿景和英国风格独特引起的矛盾心理意识对渴望拥有的帝国的圣地。

Although the style of fighting which involves kicking a man when he is down, gouging out his eyes, and kicking him in the testicles does not appeal to the average American, we must forget the Marquise of Queensberry and his often violated rules of sportsman like combat when dealing with our Jap and Nazi enemies.

尽管这种风格的格斗包括一些普通美国人难得见到的东西：当对手倒地时猛踢他、挖他的眼睛、踢他的裆，但是在对付日本和纳粹敌人的时候，我们必须忘记那位昆士伯利的侯爵以及他那种经常犯规的竞技运动式格斗的规则（指英国&昆士伯利拳击规则&——译注）。

The exhibition in 1963 to 70 era antique cloth, would like to take people to know that fabric pattern is a reflection of the aesthetics and history, is the 60s style hippie Hippy Style, is a youth culture fashion Dasheng's, For the source of a British Granny to break the old norm in the fashion industry, it hired Nigel Waymouth and Sheila Cohen for the United States means that they spent a lot of Aubrey Beardsley print pattern, performing a new color, a launch will be recognized by the public.

今次展出1963年到70年代的古董布，希望籍此让人知道，其实布的图案是反映当时的美学及历史，60年代是嬉皮风格Hippy Style，是时尚青年文化的大盛年代，源头是英国Granny欲要在时装界破旧立新，故此聘请Sheila Cohen和Nigel Waymouth作美指，他们用了大量Aubrey Beardsley的印刷品图案，表演新色调，一推出便受到大众认同。

与英国人风格相关的网络解释 [注：此内容来源于网络，仅供参考]

black tea：英国红茶

英国红茶(black tea)从英文字面上看很奇怪,并不是"红茶"而是"黑茶",其原料基本都取于印度、锡兰尼泊尔,然后英国人根据自己的口味将这些茶拼配一下,形成了自己稳定风格的英国红茶系列茶.

Burberry：芭宝莉

芭宝莉(BURBERRY)一向给人感觉是充满传统英伦风格,而据英国媒体报道,芭宝莉时尚品牌即将在来临的2010年春季推出以运动的为主题全新设计的系列产品,该运动主题路线产品包括手表、眼镜、箱包、饰品、香水等.

British Consulate：英国领事馆

当年入主这些建筑的银行并非今天的这些银行,上海总会(Shanghai Club)的长廊酒吧(Long Bar)已经被人忘却,英国领事馆(British Consulate)也已迁到不太重要的地方,但在具有爱德华时代风格的建筑中,到处都郑重其事地穿插着令人羡慕的服装店、时尚设计公司和高雅的珠宝店.

Englishism：英国风格

Englisher 英国人 | Englishism 英国风格 | Englishize 英国化

Englishness：英国风格

Englishmen 英国人 | Englishness 英国风格 | Englishwoman 英国女人

Englishness：英国人作风

Englishness 英国风格 | Englishness 英国人作风 | Englishsurname,Brown 布朗

Englishness：英国风格/英国人作风

Englishman /英国人/ | Englishness /英国风格/英国人作风/ | Enid /伊尼德/

Englisher：英国人

English-speaking 说英语的 | Englisher 英国人 | Englishism 英国风格

Prawns：虾

SpaloCTOSE~2007抗衰老健康观丽瓦面霞骊畦霭~饕餮旅行美食专家教你区分大虾(Prawns)与小虾(Shrimp)的区别在哪里. 大虾的N种做法:烧烤、清蒸、或者沙拉,辅以姜片、柠檬草、椰肉等,活脱一个风格百变的优质食材. 炸鱼配薯条可是英国人的国民食物,

The Third Man：第三人

<<第三人>>(The Third Man)是一部"中大西洋"风格的影片(同时迎合美国和欧洲观众的口味). 作为一部经典的英国悬疑片,它不但向观众展示了战后奥地利(尤其是其首都维也纳)的真实一面(电影中有许多轰炸后的建筑废墟镜头),其演员准确而又深动的表演,