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subject to object
相关语句
  主体对客体
     Mythology is the vague grasp of subject to object.
     神话是主体对客体的模糊把握。
短句来源
     It is an intelligent result of a kind of reciprocation among the subject and object that the knowledge of the subject to object is defined.
     主体对客体的知识被定义为主客体间一种交互作用的智力结果。
短句来源
     Although the theory involves the image cognition of subject to object, it greatly emphasizes the mood and emotional experience of the subject(writer) as the “spokesman” of object(people) in the assimilation process.
     虽然也讲主体对客体的形象认识,但更强调在主客体的同化中主体(作家)作为客体(人民)的“代言人”的情绪和情感体验;
短句来源
     Trust exist in the satisfaction offered by the subject to object. Different object has different reliability.
     (1)信任存在于主体对客体可靠性需要的满足。
短句来源
     Compared with the reappearance of poetry reflection theory of Marxism and the pursuit of image cognition of subject to object, MAO Zedong's theory of reflection on art and literature lays more emphases on the “sense of interest” than on the imitation of formal likeness of Chinese ancient poetry.
     与马克思主义诗学反映论的重再现、追求主体对客体的形象认识相比较,毛泽东的文艺反映论虽然也着眼于形似的模仿成分,但更多地是中国古代诗学的“感兴”意味;
短句来源
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  “subject to object”译为未确定词的双语例句
     Yexie considered that the essence of art was the interaction of "Qi" from aesthetic subject to object.
     在叶熨看来,艺术的本质在于主客体之“气”的交互作用。
短句来源
     There was not a "rule" in art creation except his aesthetic subject to object theory.
     在创作中应该以主客体理论为标准,除此以外没有单独的“法”可言。
短句来源
     The last part touched upon Yexie's status in the aesthetic history Yexie's theory of aesthetic subject to object surpassed his period and was still worth studying today by praising highly both the aesthetic subject and reason.
     第五部分叶类的美学史地位 叶曼的审美主客体理论对审美主体与艺术理性的推崇不但超越了他所处的时代,而且在当代仍然具有启示意义。
短句来源
     Role_Based Access Control (RBAC) Model is nowdays the best and most popular access control model, it defines access authority of subject to object, and is the controller when the consumers accessing data resource enter into the application system by authenticating identity, and is the core technology and the effective measure of safely protecting the data information. Compared with traditional DAC and MAC models, it can provide better flexibility and scalability.
     基于角色的访问控制模型(Role Based Access Control,RBAC)是目前主流的访问控制模型,定义了主体对于客体的访问权限,是应用系统对经过身份认证进入系统的用户访问数据资源的控制,是数据信息得到安全保护的核心技术和最有效的手段,它比传统的自主访问控制(DAC)和强制访问控制(MAC)更优越,同时提供了更高的灵活性和扩展性。
短句来源
     Criticism is reading, literary criticism is an identification between the critical subject and the writer’s subject, it comes from subject to object and then to the subject again, and in order to make coincide of consciousness between these two subjects.
     批评即阅读,文学批评是批评主体与创作主体的认同,它从主体经由客体再到主体的过程,并达到两个主体间的意识重合。
短句来源
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  相似匹配句对
     Subject and Object in Translation
     试论翻译中的主体与客体
短句来源
     On "Subject"
     论“主语”
短句来源
     On the subject and object of folklore's application
     论民俗应用的主体与对象
短句来源
     A Transition from Object to Subject
     从客体到主体的转换——托妮·莫里森小说的文化意蕴
短句来源
     the subject;
     挪用公款罪的主体;
短句来源
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  subject to object
This approach is extended to Exceptional Case Marking/Subject to Object Raising constructions, and provides an argument for a Subject to Object Raising analysis.
      
With this concept I denote a manifest relatedness of subject to object in the sense of a positive movement of subjective interest toward the object.
      
The triples subjects and objects became network nodes connected by directed edges from subject to object.
      
The closure is computed by following properties in the direction of subject to object until a non-anonymous RDF resource or RDF literal is found.
      
My independent needs, with which I have been identified, move from subject to object.
      
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Compared with the reappearance of poetry reflection theory of Marxism and the pursuit of image cognition of subject to object, MAO Zedong's theory of reflection on art and literature lays more emphases on the “sense of interest” than on the imitation of formal likeness of Chinese ancient poetry. Although the theory involves the image cognition of subject to object, it greatly emphasizes the mood and emotional experience of the subject(writer) as the “spokesman” of object(people) in the...

Compared with the reappearance of poetry reflection theory of Marxism and the pursuit of image cognition of subject to object, MAO Zedong's theory of reflection on art and literature lays more emphases on the “sense of interest” than on the imitation of formal likeness of Chinese ancient poetry. Although the theory involves the image cognition of subject to object, it greatly emphasizes the mood and emotional experience of the subject(writer) as the “spokesman” of object(people) in the assimilation process. Although it involves the truthfulness of image cognition, it pays much attention to the correctness of mood and emotional tendency. Thus, the greatest contribution of Mao Ze dong is to make it endowed with Chinese national form and emphasize the sense of feeling of art reflection.

与马克思主义诗学反映论的重再现、追求主体对客体的形象认识相比较,毛泽东的文艺反映论虽然也着眼于形似的模仿成分,但更多地是中国古代诗学的“感兴”意味;虽然也讲主体对客体的形象认识,但更强调在主客体的同化中主体(作家)作为客体(人民)的“代言人”的情绪和情感体验;虽也涉及形象认识的真实性,但更侧重于情绪情感倾向上的正确性。因此,毛泽东对文艺反映论的主要贡献是赋予其以中国化的民族形态,强调文艺反映的情感性

The relationship between Teachers and students is the foundation stone of the educational mansion.The relationship between teachers and students in traditional education,whether in theoretical location or in actual situation,more embodies an unequalledness;in fact it is a relation of subject to object.The education of "taking people as the foundation" inevitably brings about a revolution or relationship between teachers and students:person-to-thing relation being turned to person-to-person relation.Fundamentally...

The relationship between Teachers and students is the foundation stone of the educational mansion.The relationship between teachers and students in traditional education,whether in theoretical location or in actual situation,more embodies an unequalledness;in fact it is a relation of subject to object.The education of "taking people as the foundation" inevitably brings about a revolution or relationship between teachers and students:person-to-thing relation being turned to person-to-person relation.Fundamentally speaking,this is a relationship of intercourse between teachers and students.In such an intercourse,both teachers and students are main bodies;they both take part in educational teachers and students is the dialogue activity which serves as educational situation as well as educational form.The intercourse between teachers and students is a practical activity and an interaction in which teachers and students are reciprocal educators and educated;they interact each other and grow up together.The intercourse between teachers and students is a two-way understanding which is a way of man's being.

师生关系是教育大厦的基石。无论是理论定位 ,还是现实状态 ,传统教育中的师生关系都更多地体现为一种不平等性 ,其实质是一种主体与客体的关系。“以人为本”的教育必然引起师生关系的一场革命 ,即由人与物的关系 ,变成人与人之间的关系。从根本上说 ,这是一种交往的师生关系。在师生交往中 ,教师与学生都是教育主体 ,教师和学生都以平等的、开放的、真正的人出现在教育活动中。师生交往是师生之间的对话行动 ,对话既是教育形式 ,又是教育情境。师生交往是一种共同实践活动及交互作用 ,师生互为教育者和受教育者 ,相互影响 ,共同成长。师生交往是一种双向理解 ,理解是人的存在方式。

World's essence comes from the creation of man.It's just the creation that links subject to object.Art is creation.Beauty is a full creation and a fusion of man's lives and environment.JIANG Kongyang's aesthetic thoughts are humanism aesthetics based on labour practice and established according to creative essence of man.Creative aesthetics,man's aesthetics in contemporary state,cultivating man with normal human feelings by aesthetic education are three typical features of JIANG Kongyang's humanism aesthetic...

World's essence comes from the creation of man.It's just the creation that links subject to object.Art is creation.Beauty is a full creation and a fusion of man's lives and environment.JIANG Kongyang's aesthetic thoughts are humanism aesthetics based on labour practice and established according to creative essence of man.Creative aesthetics,man's aesthetics in contemporary state,cultivating man with normal human feelings by aesthetic education are three typical features of JIANG Kongyang's humanism aesthetic thoughts.

世界的存在源于人的创造 ,正是这种创造把主体和客体联系起来。艺术就是创造 ,而美则是完满的创造 ,是人的生命与环境的契合。蒋孔阳的美学思想以劳动实践为基础 ,从人的本质创造来构建人本主义美学体系。“创造论美学”、“当代形态中人的美学”、“以美育培养更富有人性的人”是他人本主义美学的鲜明特征

 
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