神樣家族 的英文怎麼說

中文拼音 [shényàngjiā]
神樣家族 英文
kamisama
  • : Ⅰ名詞1 (神靈) god; deity; divinity 2 (精神; 精力) spirit; mind 3 (神氣; 神情) expression; l...
  • : Ⅰ名詞1. (形狀) appearance; shape 2. (樣品) sample; model; pattern Ⅱ量詞(表示事物的種類) kind; type
  • : 名詞1 (家族) clan 2 (古代的一種酷刑) a death penalty in ancient china imposed on an offender ...
  1. Indeed it is said by our lore - masters that they have from of old this affinity with us that they are come from those same three houses of men as were the n menoreans in their beginning not from hador the goldenhaired, the elf - friend, maybe, yet from such of his sons and people as went not over sea into the west, refusing the call

    (法拉米爾說)據我們的學術大師所言,他們(羅翰人)確實與我們有親緣關系,他們與努曼諾爾人一都是人類三大的後裔,但他們的始祖不是「精靈之友」金發哈多,也許,是他的某個兒子或一些百姓拒絕了主的召喚,沒有渡海西去。
  2. The possibility for introducing literary criticism into middle school literature teaching is explained with the following reasons : middle school chinese literatures teaching is closely related to literary criticism ; literary works apparently increased in middle school teaching ; literature spreads increasingly into every aspects of people ' s life. the third part of the thesis expounds on finding the correspondence points of literary criticism and middle school literature teaching. according to the content and form of literary works, the implementation of using literary criticism to interpret ideology, character, culture content, literary language and expression skill of literary works in middle school chinese teaching is in the following aspects : 1

    具體說來,包括這一些方面: 1 ,運用社會一歷史批評,體會作品中展現的社會生活的真實性,了解當時的社會生活背景加深對作品的理解,由作品的思想內容所引發的思考; 2 ,運用精分析批評,分析人物形象,剖析人物心理; 3 ,運用文化學批評,分析人物形象所包含的民文化心理,探尋作創作中不同的文化投射,揭示作品中的地域文化特徵; 4 ,運用文體學批評和新批評的細讀法,分析作品的語言; 5 ,運用結構主義批評的敘事學理論,分析作品的表現技巧。
  3. In other peoples eyes, these wonderful experiences may seem like fairytales. but in our quan yin family, they are just ordinary events. its our dear master who has taken us into this beautiful wonderland

    這些美妙的體驗在別人看來,就像話故事一,但在我們觀音,卻是很平常的事,是親愛的師父帶領我們進入這個奇美妙的世界。
  4. However, poverty is not the theme of artists, they only pass on the observation of social relations and of poverty poetic descriptions of the landscape to establish aristocratic atmosphere, which is no longer a rural landscape beauty exaggerated, but a discourse on the ideal tool for the expression of the theme : english state rural poverty scenery and the reality of poverty no relationship, it is merely carefree " young shepherd, " the " acadian " ( the ancient greek myth of the beautiful garden ) only

    但是,貧窮並不是畫們的主題,他們只是通過對社會關系的觀察和對貧窮的詩意描繪,來確立風景畫的貴情調,其中的鄉村景色不再是對美學的渲染,而是一種關于理想的話語工具,用以表達這的主題:英國鄉村的貧窮景色與現實的貧窮沒有關系,那隻不過是無憂無慮的「牧羊少年」的「阿卡迪亞」 (古希臘話中的美麗花園)而已。
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