邊緣主義者 的英文怎麼說

中文拼音 [biānyuánzhǔyìzhě]
邊緣主義者 英文
brinkman
  • 邊 : 邊Ⅰ名詞1 （幾何圖形上夾成角的直線或圍成多邊形的線段） side; section 2 （邊緣） edge; margin; oute...
  • 緣 : Ⅰ名詞1 （緣故） reason 2 （緣分） predestined relationship 3 （邊） edge; fringe; brink Ⅱ動詞（攀...
  • 義 : Ⅰ名詞1 （正義） justice; righteousness 2 （情誼） human ties; relationship 3 （意義） meaning; si...
  • 者 : Ⅰ助詞1 （用在形容詞或動詞後面 或帶有形容詞或動詞的詞組後面 表示有此屬性或做此動作的人或事物） 2 ...
  • 邊緣 : 1 （沿邊的部分） border; edge; fringe; margin; rim; limb; skirt; verge; brink; periphery 2 （靠近...
  1. In this essay i argue that the writing of american jazz age novelist f. scott fitzgerald responds to the developing national culture of his time, here described as an evolving relation between the marginality of the region and the hegemony of the center. like many of the characters in his novels, fitzgerald ' s perceived liminality from nation and canon - his work did not achieve repute until after his death - produced, paradoxically, dependence on those values the writer felt most distant from. to a far greater extent than hemingway, fitzgerald fictionalized the commodity culture of the american center which he, in time, came to reject in favor of a moral posture. fitzgerald ' s migration from the perceived margins of american literary discourse to status as a posthumous, centered canonical figure has three specific dimensions - the geographical, the canonical, and the moral - all of which combine to produce a significant ambivalence, beyond " modernist " credentials, in his life and legacy

    本文認為，美國爵士時代的小說家菲茨傑拉德的作品對于作者所處時代和處于發展之中的民族文化（即區域邊緣與國家霸權之間的演進關系）作出了回應.正如其小說中的許多人物一樣，菲茨傑拉德從國家和典律中感知到閾限性（他自己的作品直到死後才獲得盛譽） ，這使得他依賴于自己認為是最為邊遠的價值觀念.與海明威相比較，菲茨傑拉德在更大程度上將位於美國中心的商品文化小說化，而最終他又出於道德考量將它予以拒絕.菲茨傑拉德從明顯的美國文學話語邊緣向去世之後被經典化的中心地位的漂移表現在地理、典律、道德三個方面.三者交織，使得學界關於他的紛爭超越了現代主義者身份問題，在關於他的人生和文學遺產問題上也是褒貶不一，眾說紛紜
  2. Selecting two articles on this section as its research objects, the thesis makes a deep analysis of these two news texts with “ the urban marginalized ”, a sociological term, as its connecting thread. by telling regular days ’ “ rifles ” of “ the urban marginalized ”, the narration itself comes out to be the presentation of and enquiry into the meaning of common people ’ s life, and overthrows the traditional “ mainstream narration ” in content. the narrative style of “ magnetic structure ” exhibits the living surroundings of the narration body more forcefully, although it dissects the typical linear structure conventionally used in in - depth reports

    本文的研究表明，這類報道中的敘述者通過講述「城市邊緣人」日常生活中的「小事」 ，其敘述本身構成對于普通人日常生活意義的呈現與追問，在內容上顛覆了傳統的「主流敘事」 ; 「磁場式結構」的敘述方式，消解了常規深度報道慣用的線性結構，但卻更有力地展示出了敘事主體的生存氛圍，有助於推進受述者閱讀這一群體充滿變數的生活，引發真切感受;語言的修辭性指向意義的播撒，透明樸素的語言中流動著厚重的人文關懷，舒緩細膩的敘述筆調增強了敘述文本的張力。
  3. And, even participate in the kit cooperation that the large business enterprise produces system to produce, because of large business enterprise ’ s control of the need and the key technical, the small and medium business enterprise have to accept the buyer ’ s high price causing by the behavior of opportunism, which lead to their profit ability is low, being placed in tiny benefit or the edge of to the bad. so the small and medium business enterprise in the industry of dynamoelectric equipment are hard to get away from the predicament of the development in a long - term

    長期以來，由於許多中小型企業受資金匱乏、技術投入和技術開發力量不足，經營和生產者素質偏低、生產規模較小等因素的限制，市場能力難以獲得較快的提高;而且即使參與大型企業生產體系的配套協作生產，因大型企業對需求和關鍵技術的控制，導致中小型企業在分包市場上不得不接受買方機會主義行為所帶來的價格盤剝，盈利能力低下，處于微利或虧損的邊緣。所以，發電設備行業的中小型企業長期難以擺脫發展的困境。
  4. The former is the combination of human vision characters and image ' s local statistics, and judge the quality of image subjectively. but the latter judge the quality of image both subjectively and objectively. moreover, the latter compare result edge, this work is an innovation

    不同之處在於：前者結合人類視覺特性，對于處理后的圖像主要從主觀視覺角度評價；而後者則採用在與傳統方法處理結果比較的基礎上，進一步比較它們的邊緣圖像，在達到客觀評價準則意義下最優的同時盡可能多的保持圖像邊緣位置和細節信息。
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