查询词典 heroes

Boundless The Middle Ages is the age of God rule the whole shoot, God full of omniscience and almightiness made the heroes in the Hebrew myth wanting of independent consciousness and subjective spirit of Greece heroes trevolting and activity, therefore, The heroes in the Hebrew myth were the embodiment of the godship brilliance and reasonableness spirit of God , Their superhuman power and outstanding achievement is just for proving the greatness of God\' s divine nature.

漫漫中世纪是极端化了的上帝统治一切的时代，上帝的全知全能和至高无上使希伯来神话中的英雄们缺少了希腊英雄那种抗争与行动的独立意识与主体精神，因此，希伯来神话中的英雄是上帝神性光辉和理性精神的体现者，他们超人的神力和辉煌的英雄业绩不过是为了证明上帝神性之伟大。

This dissertation will take the research method of text intensive reading and macro analysis. First, it will concretely analyze the two main genres of characters in Luling"s creations—intellectual heroes and understratum heroes. Then it will macroscopically generalize the common characteristics and elements of the "heroes". Finally it will discuss the formation and change of the "hero idea of Luling himself and primarily deal with the influence of foreign literature on his creation of 1940s.

本文主要采用文本细读与宏观把握相结合的方式，先通过具体形象的解读来具体分析路翎作品中的两大类"英雄"形象--知识分子与底层，再从宏观上总结和概括"英雄"具备的共同特征与要素，最后追溯路翎自身"英雄"观的形成以及转变，并初步梳理路翎四十年代创作与外国文学的一些渊源与关系。

On the AFI's 100 Years... 100 Heroes and Villains, he is only the second actor to appear on both lists: on the "heroes list" as Frank Serpico and on the "villains list" as Michael Corleone.

而在美国电影学院评选的上世纪电影百大反派与百大英雄名单中，他是仅有的两名在两个榜单同时上榜的演员之一。

The term Byronic Hero originates from the heroes in works of Byron, a poet in the 18^th century; Hemingway Hero refers to a series of heroes in Hemingway＇s works.

拜伦式英雄源于18世纪诗人拜伦作品中的某些主人公，海明威式英雄是指海明威作品中的一系列主人公。

A: Remaking heroes is always a controversial thing because players often get attached them, so when those heroes change for better or worse, the players that liked them are disappointed.

答： 重塑英雄始终是一个有争议的事情，因为球员经常重视他们，因此当这些英雄的变化是好还是坏，球员喜欢他们感到失望。

In sum, one of the fundamental functions of media is to disinter heroes, while heroes are not necessarily those who share specific reputation.

写道正文第三段，我举了SARS的例子，因为深有体会就有感而发，个人认为：医生有救死扶伤的义务，但是他们没有送死的义务。

Throughout Chinese history there have been many subjects who have been lauded as loyal heroes for voicing dissent and trying to dissuade the rulers, but these heroes obey the government and the law even when engaging in dissent and dissuasion, which are conducted through legal channels.

中华传统里，只有当政府的无道和无能，达到了没有希望的地步、国家被严重地错误统治、治安和法纪破坏时，只有这时才可以说政府"失去了天命"，而只有这时人民才有权违反法律，起来进行革命，推翻政府。

However, the historical essence and reality cannot do without the experiences of heroes and historical events, and characters in such epical films cannot but pay attention to the environment of such events and the specific historical images in history. Heroes like Napoleon, Peter the Great, Gump, Ivan the Great, Dunbar, Sigfrid, Kriemhild, and etc.

然而，史诗性电影的历史真实，离不开英雄人物生前的经历和历史事件，史诗性电影中的类型化人物也无不注意到这些事件所处的历史环境；无不注意到这历史环境中所产生的各种各样特定的历史群像。

Heroes exterminate each other for the benefit of people who are not heroes.

英雄好汉互相残杀，是为了不是英雄好汉的人的利益。

In one of 'Myth' paintings, the huge stones almost occupy fully the whole surface; in contrast, the figures let down, after intense struggle, as if collapsedly, chikenlike, tiny, impotent, unreconciled and depressed, just like giving up battling with the stones. In this series of heroist mode, particularly as against with the picture surfaces in which the giantlike bodies and energy are expressed, the figures in it even look a sense of funniness – wherein we are certain that irony has been engaged in his paintings, and it can be understood as a self-irony that it is not a floppy laziness, while he indeed does not need to tighten his muscles, not to keep a zealous and single gesture for fighting, as if it seems difficult for everything to continue, and in the paintings when the heroes unpack the stones, the artist seems unpack the dream of heroes, letting alone the huge stones burning and overspreading, surrounding us, pressing us and scorching us, even running over the whole picture. It suffocates us with all these heaviness, hardness, and acuity, as registers our weak life like a paper-cut.

尹朝阳的《神话》系列里有一幅，巨大的石头几乎占满了整个画面，相比之下，画中的人经过了激烈的挣扎，松弛了下来，形将瘫软一般，渺小，无能，心有不甘而黯然神伤，俨然已经放弃了与石头的搏斗，在这个英雄主义调式的系列里，尤其是与其中表现了英雄那巨人般的体魄和能量的画面相对，这幅画中的人甚至显出了一种酸楚的滑稽感——这里，我们确知反讽已经介入了他的绘画，并且，可以理解为一种自我反讽，它并非是纨绔式的慵懒，然而，确实不再绷紧他全身的肌肉，不再保持激昂而单一的斗姿，好像一切都已经难以为继，在画中的英雄卸下了石头的同时，艺术家自己也仿佛卸下了英雄梦，任凭那巨大的石头像烈火般燃烧和蔓延，包围我们，紧紧地挤压、烤炙我们，并且溢出整个画面，它以全部的沉重、坚硬和尖锐使我们窒息，反衬出我们脆薄如剪纸般的生命。

Yet, Edith says, there was always money in the bank.

但是Edith说，她的银行户口里面总是有钱。

We have created a series of files that resolve this problem--one for each day of the 40 days of purpose.

我们制作一系列的档案去解决这问题---一个为标竿40天中的每一天。