神話時代的 的英文怎麼說

中文拼音 [shénhuàshídàide]
神話時代的 英文
mythopeic
  • 神 : Ⅰ名詞1 （神靈） god; deity; divinity 2 （精神; 精力） spirit; mind 3 （神氣; 神情） expression; l...
  • 話 : Ⅰ名詞（說出來的能夠表達思想的聲音, 或者把這種聲音記錄下來的文字） word; talk Ⅱ動詞（說; 談） talk about; speak about
  • 時 : shí］Ⅰ名1 （比較長的一段時間）time; times; days:當時at that time; in those days; 古時 ancient tim...
  • 代 : Ⅰ動詞1 （代替） take the place of; be in place of 2 （代理） act on behalf of; acting Ⅱ名詞1 （歷...
  • 的 : 4次方是 The fourth power of 2 is direction
  • 神話 : mythology; myth; fairy tale
  • 時代 : 1 （時期）times; age; era; epoch 2 （生命中的某個時期）a period in one s life:青年時代youth; 時代...
  1. Research the horror element antetype system of chinese myth in hunan territory on chin and han dynasty, and use the mature myth antetype system of western to analyse the projection on the eastern mentality by the horror antetype of eastern jin

    研究中國古代神話中（以秦漢時期湖湘地區的神話為主）恐懼元素的原型系統結構，以西方成熟的神話原型系統分析東方神靈中的恐懼原型在東方藝術哲學心理上的投影。
  2. He had " that art which had been buried for centuries by the errors of some who painted more to please the eyes of the ignorant than the intellect of the wise, " wrote boccaccio ( some ten years after the artist s death ) in a tale of the decameron, in which he stressed both the physical ugliness and lively wit of " the best painter in the world.

    在《維納斯的誕生》中，他表現了某種在當時特別流行的半宗教、半幻想的希臘神話世界。這張畫取材於古代神話，維納斯從海中誕生了，她站在貝殼之中，被風神吹送而來。
  3. Then he stumbled upon gayley s " classic myths " and bulfinch s " age of fable, " side by side on a library shelf. it was illumination, a great light in the darkness of his ignorance, and he read poetry more avidly than ever

    然後他在圖書館一個書架上並排發現了蓋利的希臘羅馬神話和布爾芬奇的格言時代人那是一種啟發，是射入地蒙昧的黑暗中的巨大光明。
  4. And careworn hearts were there and toilers for their daily bread and many who had erred and wandered, their eyes wet with contrition but for all that bright with hope for the reverend father hughes had told them what the great saint bernard said in his famous prayer of mary, the most pious virgin s intercessory power that it was not recorded in any age that those who implored her powerful protection were ever abandoned by her

    那些飽經憂患的心靈，為每天的麵包操勞的，眾多誤入歧途，到處流浪的。他們的眼睛被悔恨之淚打濕，卻又放出希望的光輝，因為可敬的休神父曾經把偉大的聖伯爾納在他那篇歌頌瑪利亞的著名禱文39中所說的話告訴過他們：任何時代也不曾記載過，那些懇求最虔誠的童貞瑪利亞為之祈禱有力地保護他們的人，曾被她所遺棄。
  5. Diana ? celebrity, tabloid princess, mater dolorosa of the pop and fashion scene ? was, if nothing else, the perfect idol for our times

    黛安娜一位明星、令人驚艷的王妃、流行與時尚的代表如果不提其他那些事情的話，她是我們時代中最完美的女神。
  6. The age of myth and miracle had come upon the world again.

    神話和奇跡的時代又回到人間。
  7. Solitary, prolific, enjoying fitfully public acclaim, labouring more often in obscurity, he seeks to repossess american reality by penetrating its past, stripping its myths.

    他性格孤獨，創作多產，有時受到歡迎，但經常地是在無聲無息中勞動著，他深入到美國過去的時代發掘著它的神話，尋求一個能重新佔有美國的現實的途徑。
  8. This self - delusion had its roots in england ' s increasingly laddish, dumbed - down culture - faking a conversational football orgasm just after the soup course was the easiest option for those who craved to belong to the spirit of the times

    這種自我幻覺深深紮根于英國那日漸濃郁的帶有孩子氣的『駁倒』文化- -在茶餘飯后虛擬出一場關于足球的興高采烈的談話，是那些殫精竭慮把自己置身於時代精神中的人的最好選擇。
  9. Mandarin is the request of the times, which is the main part of our socialistic civilization building

    摘要推廣普通話是時代發展的需要，是社會主義精神文明建設的重要組成部分。
  10. This is the story of a myth of our times

    這是一個關於我們這個時代的神話故事。
  11. It was a monumental effort, not just in its much publicized introduction of hollywood special effects but also, perhaps even more importantly, in its attempt to integrate chinese mythology with cinematic myth making

    蜀山具有劃時代的歷史意義，不僅因為它率先引進荷里活特技，更重要的是它把中國神話結合到電影神話之中。
  12. Chugging at a stately pace for thousands of kilometers across russia by train with a 150 person entourage, kim jong il looked like an eccentric aristocrat on an odyssey back in time

    火車邁著莊嚴的慢慢騰騰的步子橫穿俄羅斯，金正日和他一百五十人的代表團恍如希臘神話奧德賽時代的貴族復活，開始他的訪俄之旅。
  13. Through the analysis of a special female image on the screen, it tries to explore how, in the doubling revolutionary discourse of class and gender, the female subject was marginalized, alienated, and sacrificed as empty political codes and gender myths by male domination

    通過分析銀幕上所顯影的一個特殊時代的女性形象，試圖探討在階級與性別相重疊的革命話語中，女性主體如何被邊緣化、他者化，並最終成為政治符碼和性別神話的角色。
  14. When i found and read this paper on jan. 3, 2008, i was most impressed with the important points clearly explained by fred hutchison in his paper and realized that they very well corresponded with the similar points explained by my above paper with completely different facts in china, which again indicates that the problems revealed by fred ' s paper, not only exist in america, in china, they are myths of the science establishment of today ' s science of the whole world

    2008年1月3日見到並讀了這篇文章后，我對弗萊德?哈特奇森先生清楚解釋的要點獲得深刻印象，同時意識他們與我的文章以中國完全不同的事實為依據解釋的要點非常相符，表明弗萊德文章中揭示的問題，不僅在美國與中國存在，它們是全世界當代科學的「科學共同體」的神話！
  15. The mythic age ends with an all - out war between the primordial twins, fought on all levels of reality

    在原始的孿生龍之間爆發了全面的戰爭，戰爭覆蓋了現實世界的每一個層面。神話時代終結了。
  16. Rippy : we used an orchestra to record a handful of the tracks for " age of mythology, " though the scope of those recordings was much more limited

    我們為了《神話時代》請了一隻管弦樂隊錄下了一大把音軌，但是在游戲中使用它們的機會非常有限。
  17. The article takes the hollywood movie as the target by means of analyzing the movies that contain the u. s. idea and ideology, and technology together with psychology how to attract the viewers. with this analyses, we can judge whether hollywood movies that penetrate into american style mythology affect nationalism at the same time produce one kind of american affection or not ; whether individual heroism of hollywood movies can deconstruct nationality self - cohesion or not, whether the art regulation of hollywood movies can substitute for the tradition of national aesthetics completely or not

    本文以好萊塢的電影作為評析對象，通過剖析一些在我國正式放映的美國大片里蘊涵著的思想內容和意識形態、科技與「藝術」和如何抓住電影觀眾的心理等等，以此分析好萊塢電影所貫穿的美國式神話是否會在影響民族認同的同時創造一種美國情結，好萊塢電影那種個人英雄的敘事原型是否會解構民族發展的自我凝聚力，好萊塢電影的藝術規則是否會完全替代我國電影敘述美學的傳統。
  18. In many articles and works, the termination of the liaison between celestial and human beings has an indefinite source. at the beginning of the discourse it is introduced that the two sources of the termination which people often mentioned. they are the l punishments, of the book of zhou, of the book of history and chu yu of guo yu. the article also explicates the relationship between the two records and their value, saying that chu yu of guo yu was compiled later than the l punishments, of the book of zhou, of the book of history but their importance can not be judged only by the time when they were compiled. in fact the termination was mythologically recorded in the book of mountains and seas the famous pre - qin book. in the part, the writer introduces the time and the nature of the book of mountains and seas, thinking it passes on many messages of the primitive time with the images and reflection of true history and taking it as a new attempt to study the legal history by it

    正本清源，本文首先介紹人們最常引用的「絕地天通」的兩個出處： 《尚書?周書?呂刑》和《國語?楚語》 ，而且對這兩處記載的關系及其價值進行了分析，指出：雖然《國語?楚語》在時間上較《尚書?周書?呂刑》為后，但對資料的原始性的評價並不僅僅以其時間的先後為標準。事實上，在先秦典籍中， 《山海經》也以一種神話的語言記載了「絕地天通」 。在本部分，作者對《山海經》的性質、成書時間等作了說明，認為它用神話的方式保留並傳遞了相當多的原始時代的信息，它們帶有歷史的影子，在一定程度上反映著歷史的真實。
  19. As the difference bteween theoretical denial and behaviorial suspicon, that is, thought is brave while language is bold, so they can express what their heart would not accept, but action is a big step forward. only absorbing them and transforming them into action, can we avoid such an unacceptable outcoming : human ' s wit is running forward, while our heart and spirit are still lagging behind ; because they are reluctant to part with the last, they are still saying goodbye when they are being judged and punished by wit

    因為理論上的否定與變成行動的懷疑是不同的，思想是勇敢的，語言是大膽的，它們可以輕易說出內心不願接受的話，而行動卻是跨前的一大步。只有內化為實際行動，我們才會避免這樣一種不願接受的結局：人類時代的智慧已經跑到了前面，而我們的心靈和精神卻還在落後，因為它戀戀不舍過去，當智慧在對它進行判決和懲罰時，它還在和過去難舍難分。
  20. Thus it might be said that the state of the art of the moving image can be assessed by the degree to which it meets the mythopetic task of giving us myths suitable to live by in out time ? ? visions that transmit to us the highest and best feelings to which men have risen ? ? and by how well the moving images give us that delight which leads to wisdom

    因此，或許可以說，電影藝術的境界可以通過它達到神話詩學的任務的等級評定? ?給我們這個時代生活的合適的神話，一種能夠將人類擁有的最崇高、最美好的感情傳遞給我們的影像? ?通過這些形象在多大程度上賦予我們智慧所帶來的喜悅來評定。
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