喻之以理 的英文怎麼說
中文拼音 [yùzhīyǐlǐ]
喻之以理
英文
try to make sb. see reason understand-
Harold bloom, a monumental and legendary figure of literary criticism at yale university, a name that cannot be avoided in poetry criticism, is one of the strongest and definitely the most prolific critics of his generation or of several past generations. professor xu jing, correspondent of foreign literature studies, interviewed professor bloom in may 2006. this interview focuses on his theory of poetry that was explosively brought forth in the 1970s by his famous tetralogy : the anxiety of influence, a map of misreading, kabbalah and criticism, and poetry and repression. bloom regards his theory of " the anxiety of influence " as his most important contribution to literary criticism, and uses " dancing " to explain his famous yet baffling six rations of " misprision. " always preoccupied with his own theory, bloom here again traces the precursors of emily dickinson and makes a brief comparison between walt whitman and wallace stevens. looking back to his past, bloom gives a summation of his life ' s trajectory as a critic : a revivalist of romantic poetry, a theoretician of poetry, and a critic for the general public. bloom began his career as a critic of british romantic literature in the afterglow of the new criticism. in the 1970s, bloom brought forth his explosive " theory of poetry " in the tetralogy publised in very quick succession in the 1970s. since the 1980s, bloom has become less technical and hopes to reach a wider readership. his literary criticism and what he calls his " criticism of religion " for the general public have made harold bloom a household name in america as well as in the world. at present, the 76 - year - old harold bloom is intensely engaged in the writing of what he hopes to be his masterpiece, the anatomy of influence, which is to be published in 2008 by princeton university press
哈羅德?布魯姆教授是耶魯大學具有里程碑意義和傳奇色彩的文學批評家，一個詩歌批評界的一個不可迴避的名字，是他那一代人或幾代人中最猛烈的、也無疑是最多產的批評家之一.本刊特約記者徐靜於2006年5月對布魯姆教授進行了采訪.本次訪談的重點是布魯姆在20世紀70年代以《影響的焦慮》 、 《誤讀的地圖》 、 《卡巴拉與批評》 、 《詩歌與壓抑》四部曲的形式相繼提出的、具有爆炸性的"詩歌理論" .布魯姆認為"影響的焦慮"是他對文學批評最重要的貢獻，並用舞蹈這一形象的比喻來解釋了他那著名的卻常常令人困惑的關于"誤讀"的"六個定量" .在訪談中，布魯姆還追溯了幾位對愛米莉?狄金森頗有影響的前輩詩人，並簡單比較了惠特曼和史蒂文斯.布魯姆將他的批評生涯概括為三個階段:浪漫主義詩歌的復興者，詩歌理論家以及面向大眾的批評者.在新批評的余輝中，布魯姆以對英國浪漫主義詩歌的批評開始了其批評生涯. 20世紀70年代布魯姆提出了他那爆炸性的、以四部曲的形式相繼問世的"詩歌理論" .進入80年代后，布魯姆的批評不再艱深難懂，他希望能擁有更廣大的讀者群.他為普通大眾所寫的文學批評及"宗教批評" （布魯姆語）使得哈羅德?布魯姆成為了美國以及全世界的一個家喻戶曉的名字.目前， 76歲的布魯姆正全力寫作《影響的解剖》一書，將於2008年由普林斯頓大學出版社出版That is why people were excited with a babble of comments when they were told recently that there would be a speakers " corner in singapore. some jumped for joy for what they called a belated spring others worried that the corner would turn out a mere matter of form
有者為之雀躍，喻之為「遲來的春天」有者擔心會是一隻「白象」 ，虛有其表有者則保持中立，建議以「無為而治」的姿態處理。To master the connotations of the imagery metaphors become an indispensable step for understanding the implications in these classics and the correlations between them
破解其中的象喻是探得這些經典文獻的理蘊以及相互之間的內在聯系所必須的。After expounding vr concept and its characters, the necessity and rationality of vr existence and its application in cad / cam, several other aspects are studied : first, the three kinds of stereoscopic display theory are set forth and the research is focused on the theory which is based on parallax and discussed from the aspects such as the physical basis of the third dimension production, the influencing factors of third dimension, the theory and arithmetic of drawing stereoscopic figures etc ; second, the difference among vr, other interaction methods and vr ' s status are studied from the perspective of human computer interaction development, the cognitive psychology model of vr interaction is analyzed and a classification study on vr is done according to different operation missions and metaphors ; third, the concept of virtual design is given out based on the research on its other concepts, then the difference among vr, cad and the realization of virtual design are studied
在闡述虛擬現實的基本概念與特性、存在的必要性與合理性，以及在cad / cam方面的應用的基礎上，本文深入研究了: 1 .虛擬現實的三種立體顯示原理，著重於基於視差方式的立體顯示，從以下幾個方面進行了多角度的探討:產生立體感的生理基礎，立體感影響因素，立體圖繪制原理與演算法等。 2 .虛擬現實的交互原理，從人機交互的發展角度研究了虛擬現實與其它交互方式的異同以及它所處的地位，分析了虛擬現實交互的認知心理學模型，並按作用於對象的任務不同和交互隱喻方式的不同對虛擬現實的交互方式進行了分類研究。 3 .虛擬設計，在研究虛擬設計的各種定義方式的基礎上定義了本文中虛擬設計的概念，研究了它相對于傳統cad的不同之處，以及虛擬設計的實現規劃。Jaynes reached the following conclusion : the psychological language produced from the change of physical language by the aid of metaphor and analogy ; mind was the similar thing of the real world ; psychological language was the premise of the production of idea
我們認為，物理語言以及類比、隱喻不是心理語言產生的充分條件，除此之外，還要有表達真實存在的內部過程的需要。By that i do not mean koo, cheung and leung are bad actors, in fact, their performance is quite impressive too. what i think is, if the filmmakers could delete some prolonged and meaningless jokes and spend more time on lau and kwan, the film would absolutely look more interesting and fruitful. mighty baby
看得出編導很落力以人海戰術為此片炮製熱鬧惹笑的氣氛，全片眾多的嬰兒亦十分有趣和可愛，但是其劇本卻大大失準，不但不能如前作一樣偶有神來之筆的驚喜和比喻，就是連最基本的要求-合理和流暢，也未能做到。Unfortunately, as compared to the focus of the film, the trio relationship among louis koo, cecilia cheung and gigi leung, both lau and kwan share only a small portion of screen time. by that i do not mean koo, cheung and leung are bad actors, in fact, their performance is quite impressive too
看得出編導很落力以人海戰術為此片炮製熱鬧惹笑的氣氛，全片眾多的嬰兒亦十分有趣和可愛，但是其劇本卻大大失準，不但不能如前作一樣偶有神來之筆的驚喜和比喻，就是連最基本的要求-合理和流暢，也未能做到。Confronted with the challenge from the postmodernist view of metaphor, the author holds that metaphor can adequately convey information from the historical reality. from the author ’ s point of view, the famous base / upper building metaphor, which is usually considered as the foundation of historical materialism, can truly describe the dialectical relationship between economical structure and ideological structure
針對后現代歷史隱喻觀，論文認為，雖然歷史隱喻包含想象的成分，但是它能夠真實地再現過去實在;雖然歷史唯物主義的基本理論是通過經濟基礎/上層建築這樣一個隱喻表述的，但這個「建築物」隱喻並非是一種想象或虛構，它真實地描述了以生產力和生產關系之間的矛盾運動為內容的歷史發展過程。The secrete of the art of mencius " communication is appeal to reason while at the same time appeal to emotion. this paper will answer the question " why he could ? ". and the reasons are : first, mencius was good at use simile and metaphor, in this way he made his language have images and have the same effect of drawing ; sencond, his langage have a good sense of rhythm which make it have almost the effect of mucis. these two elements were combined with reason. in this way, mencius can appeal to reason while at the same time appeal to emotion
首先，孟子擅長運用比喻等修辭手法令傳播語言形象化，造成動畫一般的效果；語言?形象，故往往可以激發受者的情感。其次，孟子所謂的氣，是語言的節奏感，可以造成音樂一般的效果。前者訴諸視覺，後者訴諸聽覺，這兩者構成了孟子傳播語言中的感性成分，與知性的議論結合起來就形成了孟子獨具魅力的曉之以理與動之以情的統一。分享友人