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Yet such was the Fright I had taken at the Moors, and the dreadful Apprehensions I had of falling into their Hands, that I would not stop, or go on Shoar, or come to an Anchor; the Wind continuing fair,'till I had sail'd in that manner five Days: And then the Wind shifting to the southward, I concluded also that if any of our Vessels were in Chase of me, they also would now give over; so I ventur'd to make to the Coast, and came to an Anchor in the Mouth of a little River, I knew not what, or where; neither what Latitude, what Country, what Nations, or what River: I neither saw, or desir'd to see any People, the principal thing I wanted was fresh Water: We came into this Creek in the Evening, resolving to swim on shoar as soon as it was dark, and discover the Country; but as soon as it was quite dark, we heard such dreadful Noises of the Barking, Roaring, and Howling of Wild Creatures, of we knew not what Kinds, that the poor Boy was ready to die with Fear, and beg'd of me not to go on shoar till Day; well Xury said I, then I won't, but it may be we may see Men by Day, who will be as bad to us as those Lyons; then me give them the shoot Gun says Xury laughing, make them run wey; such English Xury spoke by conversing among us Slaves; however I was glad to see the Boy so cheerful, and I gave him a Dram (out of our Patroon's Case of Bottles) to chear him up: After all, Xury's Advice was good, and I took it, we dropt our little Anchor and lay still all Night; I say still, for we slept none!

但是,我已被摩尔人吓破了胆,生怕再落到他们的手里;同时风势又顺,于是也不靠岸,也不下锚,一口气竟走了五天。这时风势渐渐转为南风,我估计即使他们派船来追我。这时也该罢休了。于是我就大胆驶向海岸,在一条小河的河口下了锚。我不知道这儿是什么地方,在什么纬度,什么国家,什么民族,什么河流。四周看不到一个人,我也不希望看到任何人。我现在所需要的只是淡水。我们在傍晚驶进了小河口,决定一等天黑就游到岸上去,摸一下岸上的情况。但一到天黑,我们就听到各种野兽狂吠咆哮,怒吼呼啸,不知道那是些什么野兽,真是可怕极了!这可把那可怜的孩子吓得魂飞魄散,哀求我等天亮后再上岸。我说,"好吧,佐立,我不去就是了。不过,说不定白天会碰见人。他们对我们也许像狮子一样凶呢!"佐立笑着说,"那我们就开枪把他们打跑!"佐立在我们奴隶中能用英语交谈,虽然发音不太地道。见到佐立这样高兴,我心里也很快乐。于是我从主人的酒箱里拿出酒瓶,倒了一点酒给他喝,让他壮壮胆子。不管怎么说,佐立的提议是有道理的,我接受了他的意见。于是,我们就下了锚,静静地在船上躺了一整夜。我是说,只是"静静地躺着",我们事实上整夜都没合过眼。

However, during New Trend '85, Gu Wenda differentiated himself from most artists of Chinese Painting of the time and showed his contemporary consciousness by experimenting on traditional ink painting materials and techniques. This brought out a new possibility for the contemporaneity of Chinese Painting. Since then, unremitting efforts have been made to "modernize" Chinese Painting through traditional abstract elements like ink-wash and Calligraphy. These efforts streamed into a new trend called "modern ink"(or "abstract ink","experimental ink") in late 1980's, though seemed not widely acknowledged for its resemblance to Abstract Expressionism of 1960's and 1970's American art. What is interesting is that while some artists are endeavoring to "westernize" their art, a new trend grouped as "Neo-literati Painting" appears with very traditional form and mood. This can be explained as a group of people's resistance to the reformation of traditional culture as well as their nostalgia to traditional ideals. However, this school tends to be artificial for the absence of the particular context, and the expression with traditional brushwork is also regionally limited. Of all the efforts of reformation, Chinese Painting that accordingly adopts the tradition heads the list because of the cultural identification of the big number of population and greater market as a result of the economic growth of China. Meanwhile, the immense conservative inertia of traditional Chinese culture can also be detected.

在"现代艺术"风起云涌的"85新潮"中,谷文达以传统水墨的材料和方法表达出不同于当时大多数中国画艺术家们这种文化心态和文化认知的现代意识,为中国画的现代性提供了一种方案;以水墨、还有选择中国传统书法的抽象因素等可能来进行现代性探索,一直是中国画连绵的努力,在80年代后期汇聚成"现代水墨"(又或曰"抽象水墨"、"实验水墨"),是中国画的又一流向,但是不是没有脱离60、70年代美国的"抽象主义"意义,反而还有了拾人牙慧之嫌,所以始终难以获得更大的认可和成功;很有趣的是,与此"西化"流向同时的,还有以非常传统的方式出现的"新文人画"潮流,或许可以把这看着是部分中国文化人在中国以西方为参照的新文化背景下对之的抵制,对传统理想的怀念和诉求,但由于已经失去了其语境和环境,"新文人画"显得娇情和造作,而且这种以非常地域化的传统笔墨语言来表现的方式也失去了更为普遍化的可能;反而是延续传统一脉的国画,由于有巨大的人数基础的本土文化的认同,在中国经济发展后有了更大的市场,所以还是蔚然为中国画的一大潮向,从这也可以看到中国文化承传的保守性的力量。

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