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It can disperse the haze of the depths of our hearts and ignorance, spread the knowledge of light and lofty, will lead us to the pinnacle of glory; that a classic literary masterpiece, the Ministry opened a fan of your mind the window, which allows you to understand that society, to understand the history, in the eloquent words, bring you a fresh figure to a soul's dialogue with thoughts and feelings at the same time upgrading; which readily Collected Works of miscellaneous books dapper frank, passionate, excited turbid Yang Qing, something happens and even caustic merciless, but embracing the philosophy, giving people with wisdom and truth, people Maosaidunkai; which Pianpian beautiful and passionate prose, astute, smooth and gratification, profound thinking and the brilliant vitality, it is taught us to capture life, so that we really understand the "Ren Zhiqing,""live meaning,""is reasonable in"; that contain thousands of song after another taste of the poem, let us read a romantic nature and Yun Li, read out of life with poetic grace, love and intellect, free and easy and indifferent to, the most unusual is that we read out the poem Painting in the Painting realize the true meaning of life and life's wonderful!

它能驱散我们心灵深处的阴霾和愚昧,播撒知识的光明与崇高,将我们引向辉煌的巅峰;那一部部经典文学巨著打开了你一扇扇心灵之窗,它让你了解了那个社会,了解那段历史,在洋洋洒洒的文字中让你和一个个鲜活的人物进行心灵的对话,同时进行着思想与情感的提升;那一本本短小精悍的杂文集爽快直率,热情奔放,激浊扬清,有事甚至是尖刻无情,但却包罗哲理、给人以睿智与真情,让人茅塞顿开;那一篇篇优美而充满激情的散文,感觉敏锐,流畅而痛快,思想深邃而灼灼活力,它教会了我们捕捉生活,使我们真正理解了"人之情"、"活之意"、"理之在";那一首首蕴含万千情趣的诗,让我们读到了自然的浪漫与蕴理,读出了人生的诗性与风度,情爱与理智,洒脱与淡泊,最难得的是我们在诗中读出了画意,在画意中悟出了生活的真谛和人生的美好!

In the preparation of this book, a few of my friends have been especially helpful with their contributions and advice: Po Chuyi of the eighth century, Su Tungp's of the eleventh, and that great company of original, spirits of the sixteenth and seventeenth centuries- the romantic and voluble T'u Ch'ihshui, the playful, original Yuan Chunglang, the deep, magnificent Li Chown, gay old hedonist Yuan Tsets'ai, and the bubbking, joking, effervescent, Chin Shengt'an-unconventional souls all, men with too much independent judgment and too much feeling for things to be liked by the orthodox critics, men too good to be "moral" and has too moral to be "good" for the Confucianists.

我写这书的时候,他们藉着贡献和忠告,给我以特殊的帮助,第八世纪的白居易,第十一世纪的苏东坡,以及十六、十七两世纪那许多独出心裁的人物——浪漫潇洒,富于口才的屠赤水;嬉笑诙谐,独具心得的袁中郎;多口好奇,独特伟大的李卓吾;感觉敏锐,通晓世故的张潮;耽于逸乐的李笠翁;乐观风趣的老快乐主义者袁子才;谈笑风生,热情充溢的金圣叹——这些都是脱略形骸不拘小节的人,这些人因为胸蕴太多的独特见解,对事物具有太深的情感,因此不能得到正统派批评家的称许;这些人太好了,所以不能循规蹈矩,因为太有道德了,所以在儒家看来便是不"好"的。

You know I have often told you, that my affection for you was not a weak, womanish one; and, far from blinding me, it makes me but more quick- sighted as to your faults; those it is not only my right, but my duty to tell you of; and it is your duty and your interest to correct them.

你知道,我常对你说,我对你的爱绝不是柔弱的女人式的爱;它远不能蒙蔽我的双眼,而是使我对你的缺点更加的敏锐。指出你的缺点不仅是我的权利也是我的义务,而改正它们却是你的责任与利益所在。

The four articles show the preliminarily philosophical transmutation on the view of moral between heaven and human made by Confucius on the basis of the ideas of heaven and human formed from the Xia, Shang,Western Zhou dynasties to the Spring and Autumn period; they reveal Confucius' orientation to think which transformed the traditional heaven as dominator into the moral heaven, and transformed the relationship between the subject and the metaphysical existence from external transcendence to innerness; thus they relieve Confucius as a keen and profound thinker at that time.

本文通过对帛书易传《二三子问》、《易之义》、《要》、《缪和、昭力》四篇的分析,认为帛传四篇为孔子《易》论,其中包涵着《论语》、《孔子集语》、传世本《易传》等反映孔子思想的传世文献所隐微罕见的天人道德观念;帛传四篇表现了孔子在涵括三代以至春秋新旧天人观念的基础上对于天人内涵的初步的哲学改造,反映了孔子将传统的主宰之天转化为道德之天、并将传统的主体对于形上存在的外在超越关系转化为内在超越关系的致思取向,从而凸显了孔子作为当时敏锐而深邃的思想家的形象;帛传四篇所涵具的孔子天人道德思想补足了三代天命德政观与思孟天道性命思想之间的逻辑缺环,是经由曾子而达致《中庸》、郭店儒家简、《孟子》乃至传世本《易传》所体现的天道性命思想高峰的理论根据。

The four articles show the preliminarily philosophical transmutation on the view of moral between heaven and human made by Confucius on the basis of the ideas of heaven and human formed from the Xia, Shang, Western Zhou dynasties to the Spring and Autumn period; they reveal Confucius' orientation to think which transformed the traditional heaven as dominator into the moral heaven, and transformed the relation- ship between the subject and the metaphysical existence from external transcendence to innerness; thus they relieve Confucius as a keen and profound thinker at that time.

本文通过对帛书易传《二三子问》、《易之义》、《要》、《缪和、昭力》四篇的分析,认为帛传四篇为孔子《易》论,其中包涵着《论语》、《孔子集语》、传世本《易传》等反映孔子思想的传世文献所隐微罕见的天人道德观念;帛传四篇表现了孔子在涵括三代以至春秋新旧天人观念的基础上对于天人内涵的初步的哲学改造,反映了孔子将传统的主宰之天转化为道德之天、并将传统的主体对于形上存在的外在超越关系转化为内在超越关系的致思取向,从而凸显了孔子作为当时敏锐而深邃的思想家的形象;帛传四篇所涵具的孔子天人道德思想补足了三代天命德政观与思孟天道性命思想之间的逻辑缺环,是经由曾子而达致《中庸》、郭店儒家简、《孟子》乃至传世本《易传》所体现的天道性命思想高峰的理论根据。

Read Ralph Ellison's perceptive description of the transformation of separate African and European cultures at the hands of the slaves:…the dancing of those slaves who,looking through the windows of a plantation manor house from the yard,im-itated the steps so gravely performed by the masters within and then added to them their own special flair,burlesquing the white folks and then going on to force the stepssintosa choreography uniquely their own.

请读一下拉尔夫-埃里森关于非洲与欧洲各自不同的文化在当年奴隶手中加以改变时所做的敏锐描述:那些在院子里跳舞的奴隶们,透过庄园房子的窗户,模仿着里面主人们的庄重舞步,然后就把他们自己独特的舞蹈才华加进去,以滑稽的动作讽刺白人,之后他们继续将这些舞步加到他们独有的舞蹈中。

Fourteen years had changed the worthy merchant, who, in his thirty-sixth year at the opening of this history, was now in his fiftieth; his hair had turned white, time and sorrow had ploughed deep furrows on his brow, and his look, once so firm and penetrating, was now irresolute and wandering, as if he feared being forced to fix his attention on some particular thought or person.

十四年的光阴已改变了这位可敬的商人的容貌,他,在本书开头的时候是三十六岁,现在已五十岁了。他的头发已变得花白了,时光和忧愁已在他的额头上刻下了深深的皱纹,而他的目光,一度曾是那样的坚定和敏锐,现在却是踌躇而彷徨,象是他怕被迫把自己的注意力集中在一个念头或一个人身上似的。

The author has limited the topic to only five of the new approaches:1 the reaction to the Romantic criticism by the historical critics, 2the attacks on the "God of Idolatry" by the unbradleyan critics, 3the revelation of Shakespeare s temperament by linguasymbolic critics, 4the study of Shakespeare s motivation for his dramatic creation by the psychoanalytic critics, and 5the selfportrait of Shakespeare by Rowse.

他们以纯粹审美的观点来研究剧作中人物的思想感情和一言一行,企图从中发现莎翁深刻的、首尾连贯的戏剧意图,并且根据人物的内心规律来解释人物的一切表现。这些有着敏锐批评洞察力的浪漫派莎评家们依靠自己的艺术直觉把握莎士比亚,揭示了莎士比亚在戏剧手法和人物刻划方面的惊人天赋;但这种莎士比亚评论最后发展成了莎士比亚崇拜。

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