本文目录导航：
现代的可以组什么词
罕用词组1.古奥 gǔ’ào[be archaic and abstruse] 古雅新鲜,深奥难懂(多指诗词文章) 2.古板 gǔbǎn(1)[old-fashioned and inflexible]∶执著守旧,不灵敏脾气古板你瞧他那古板样子,从不说一句笑话 (2)[poky]∶故步自封只不过是个害怕而古板的小家伙,像个鼹鼠似地终日胆战心惊 (3)[fixed]∶(表情)死板,呆板(李宝堂)又把脸复原到原来那么一副古板样子。
—— 丁玲《太阳照在桑乾河上》 3.古北区 gǔběiqū[Palaearctic region] 全北区(大陆生物天文区之一)划分的一个亚界,包含欧洲、亚洲北部以及非洲撒哈拉以北 4.古刹 gǔchà[old temple] 年代久远的寺庙燕然对古刹,代郡隐城楼。
—— 南朝陈· 徐陵《出自蓟北门行》 5.古厝 gǔcuò[old-age house] 新鲜的屋宇这座古厝名为“摘星山庄” 6.现代 gǔdài(1)[in ancient times]∶在我国历史分期上泛指十九世纪中叶以前的时代大洪灾,就是现代也是有过的 (2)[Antiquity]∶历史分期。
指原始公社制时代和奴隶时代。
理论把奴隶制时代称现代,封建社会称中世纪 7.现代 gǔdài[in the past;formerly] 过去,年代已久远现代神话 8.古道 gǔdào(1)[ancient rules and methods]∶传统的正道。
今通称不趋附流俗,守正不阿为古道夫重怀古道,枕籍诗书,危不能安,乱不能治,邮里逐鸡难,亦无党也。
——汉· 桓宽《盐铁论·殊路》 (2)[simple and unsophisticated]∶古朴古道热肠奸诈古道 (3)[old road]∶古旧的门路踏上石子铺的古道乐游原上清秋节, 咸阳古道音尘绝。
—— 唐· 李白《忆秦娥》 9.古道热肠 gǔdào-rècháng[warm-hearted;fervent] 解人之困、急人之难的行为。
古道描画后人仁厚;热肠描画热心先生,难得您这般古道热肠,恭敬不如从命了几团体当中,毕竟是老头子秦梅士古道热肠。
——《官场现形记》四十四回 10.古典 gǔdiǎn
现代的新鲜的用英语怎样说
现代的新鲜的用英语说是Ancient。
Ancient，英语单词，名词、描画词，作名词时意为“现代人；老人”，作描画词时意为“现代的；新鲜的，过期的；年轻的”。
短语搭配
1、Ancient Egypt古埃及;古埃及人;古埃及王国Ancient astronauts现代太空人;远古太空人;代的太空人Ancient Chinese现代汉语;古汉语;中古汉语ancient tomb古墓;现代墓穴;现代泉台;古墓葬。
2、Ancient City古都;古城;京;古迹城Ancient Magic先祖魔法;先祖魔法参与法术伤;新鲜Ancient Sudoku远古数独史前数独;古数独Ancient civilizations文化古国;Ancient Apparition极寒幽魂;冰魂;远古冰魂。
双语例句
I found myself in an ancient temple.我发现自己在一个新鲜的庙宇。
Some ancient towns have walls round them.有些新鲜的市区周围有城墙。
This is not ancient history for us.这不是咱们新鲜的历史。
新鲜的的英文：
age-old，ancient，antiquated，archaic，auld，of great antiquity，old
参考例句：
1、As old as time像期间一样新鲜The hoary ruins of English abbeys新鲜的英国寺院的遗址Chinese civilization is one of the oldest in the world.中国文化是环球上最新鲜的文化之一。
求电影 紫色 的英文影评
In the prologue to Steven Spielbergs The Color Purple, black sisters Celie and Nettie play patty-cake in a field of blue-pink flowers. Celie is pregnant with her second illegitimate child, and when she has the baby, her father cruelly whisks it away to a new home, as he did her firstborn. Later, her father disposes of Celie, too, giving her to Albert (Danny Glover), a vicious stranger on horseback in need of a wife. Concerned with more than just lonely Celie (Whoopi Goldberg as an adult) summoning the confidence to defy Albert (less through her own sexual awakening, as in The Color Purples source material, than through a cultivated sisterhood with the women in her orbit), the picture examines a generation of emancipated African-American men who, poisoned by the slave mentality, treat their women as Cinderellas in a misguided salvo to presents a quagmire to say that Spielberg has no business directing a film about The Black Experience, because in so doing, you are arguing that The Black Experience is singular and sub-rosa, which strikes me as racist in ways that even hiring an Aryan screenwriter (Menno Meyjes) to adapt Alice Walkers Pulitzer Prize-winning novel The Color Purple does not approach. On the other hand, Spielberg can be so all-inclusive as to flatter a white audience for finding The Color Purple as catholic as it is: Caucasians are rarely seen in the film, and with racism never part of the text or subtext outside a sequence that explicitly addresses the issue, this starts to feel like Spielberg brought to the film, first and foremost, is visual sweep that feels astoundingly epic considering The Color Purples TV-friendly aspect ratio of 1.85:1. While Allen Daviaus cinematography borders on precious, with many shots, as cynics were quick to point out, evoking a Mr. Bluebird-on-my-shoulder day, there was nothing to be gained from taking an opposite approach; the films picturesque qualities stand against the grim lives led by its characters to suggest something true of the balance of human experience. At first I was going to pair up The Color Purple in a review with Spielberg-idol John Fords frothy The Quiet Man, which is beautifully and similarly photographed, until I realized that I risked trivializing the former with such a picture doesnt lack for levity, though. In fact, the execution of some of The Color Purples lighter moments provides the tidiest ammunition against Spielberg. You worry, in scenes like the one in which Albert ineptly prepares a meal, that Spielbergs education in black cinema stops at Tom & Jerry cartoons: wanting the oven hotter, Albert retrieves a tin can marked Kerosene in letters big and comical, and Spielberg cuts to an empty chair that Celie has fled with split-second timing, the subsequent fireball supplying a sound effect akin to Tom or Jerry bolting from the room. The bit is funny, cute, and, complete with low, headless-mammy angles, perhaps too reverent of the rolling-pin era in pre-Sidney Poitier , The Color Purple is unquestionably a work of heart and soul dazzlingly performed by Spielbergs tightest ensemble since Jaws. The films final gestures of redemption on Alberts behalf bring to mind another Ford picture, The Searchers, and if that ultimately makes The Color Purple as much a paean to the cinematic past as to a black experience, at least it lends the film a sense of history you risk losing in translating Walkers archaic first-person prose for Hollywood.I wish I could muster the same enthusiasm for Kasi Lemmons hyphenate debut, Eves Bayou. Her follow-up effort, The Cavemans Valentine, was/is an unsung gem, but as it trades on a fascination with superhero archetypes (starring Samuel L. Jackson, it could be a movie within M. Night Shyamalans Jackson starrer Unbreakable), it wasnt treated with the critical or popular respect of Eves Bayou, a coming-of-age film set in the 1960s that concerns the weathered storms of an idyllic her name with the titular bayou, a plot of land in rural Louisiana that, legend has it, was bequeathed to the black community in gratitude of slaves who nursed Jean-Louis Baptiste back to health, pre-teen mischief-maker Eve Batiste (Jurnee Smollett) prefers her smooth-talking dad, Dr. Louis Batiste (Jackson), to the rest of her otherwise distaff household. But one night during a soirée at the Batistes, Eve catches daddy in a compromising position with a lady not her mother; Louis talks Eve down from a subsequent panic attack (an innovative choice for the childs reaction on Lemmons part) in a scene rich, like so many in the latter half of Eves Bayou, with Freudian overtones. Louis addresses his daughter as though shes the wronged wife: his patronizing gestures of solace constitute an apology in doublspeak--he is sorry for being indiscreet rather than for his in Dr. HugoDR. HUGO *** (out of four)A dry run of the housecall sequence in Eves Bayou, Kasi Lemmons delightful, if prosaic, comedy short Dr. Hugo casts the underemployed Vondie Curtis-Hall as a physician curing conveniently bed-ridden wives of their loneliness. According to Lemmons commentary with Cotty Chub, Curtis-Hall, and Amy Vincent, this sexy little movie sparked Samuel L. Jackson to claim Curtis-Halls role for his own in the feature-length reimagining right about the time that Dr. Hugos patient (Victoria Rowell) dropped trou. The 20-minute Dr. Hugo is presented in 1.85:1 non-anamorphic widescreen on the Lions Gate Signature Series edition of Eves Bayou.-BC But a movie needs more than psychosexual profundities. Eves Bayou is cinematically amateurish and unfocused, violating its heroines point of view (the adult Eve narrates the film, defining it as a reminiscence with her opening line, The summer I killed my father, I was ten years old) with encounters and flashbacks to which she is not and could not have been privy and cutting to too many gritty black-and-white asides besides, an effect intended to underline exposition that only demonstrates Lemmons storytelling incertitude. Additionally, the picture ends on an unearned note of haunted ambiguity: instead of showing us, in a fashion that would give rise to polarized assessments organically, a pivotal incident involving Louis and Eves older sister that informs the final third of Eves Bayou, we watch it play out in a variety--three, to be precise--of emotional configurations (the Rashomon trope), resulting in contrived pathos. Its depiction of a pre-civil rights black neighbourhood marked by affluence notwithstanding, Eves Bayou is hardly revolutionary. One of the earliest titles to be released on video in the letterbox format, The Color Purple has always looked fine at home but never as lovely as it does on Warners new Two-Disc Special Edition. The 1.85:1 anamorphic widescreen transfer--its apparently the same one used for a 1997 DVD release of the film--has not only aged well, it should also continue to age well; I defy anyone to date The Color Purple on the basis of the DVDs source print alone. (If we can convince Universal to re-author 1941, there will be no such thing as an unappealing Spielberg DVD.) Remixed in 5.1 Dolby Digital, the films soundtrack here is pleasing to the ears though inconspicuous--Spielberg saved the fireworks for his next picture, Empire of the Bouzereau (who else?) was responsible for The Color Purples supplements, and while they are dense with clip filler, in fairness, the four featurettes on the second platter of this set contain remarkable content. In the deceptively christened Conversations with the Ancestors: The Color Purple From Book to Screen (27 mins.), author Alice Walker articulates the seeds of her book (I had two grandparents who, when they were younger, were really horrible people), and among other topics, she discusses her stab at a screenplay adaptation (retitled Watch for Me in the Sunset by the author, it impressed Spielberg but she ultimately withdrew the script from consideration). Spielberg admirably goes down the list of criticisms against his interpretation of the novel--hes more self-aware than you think, and he gets the last laugh, in a sense, when he points out that The Color Purple grossed a hundred simoleons at the box office even though he committed sins X, Y, and next two docs, A Collaboration of Spirits: Casting and Acting The Color Purple (29 mins.) and Cultivating a Classic: The Making of The Color Purple (22 mins.), were very obviously one program divided in two to keep the SAG dogs at bay. (The Screen Actors Guild began hitting studios with fees last year for talent appearing in DVD making-of material running longer than thirty minutes to the second.) Oprah Winfrey, whatever off-camera personality she once had clearly absorbed by the artificiality of daytime television, nonetheless contributes great, cherished production anecdotes. How she wound up with the role of Sofia is indeed the stuff of (in Cultivating a Classic specifically), Spielberg recounts Goldbergs screen test, which doubled as a trial run of his original idea to shoot The Color Purple in black-and-white using cinematographer Gordon Willis; E.T. cameraman Daviau soon became available and devised ingenious lighting schemes for photographing (in colour) a multiplicity of African-American skin tones within a master without reducing any of the faces to eyes and teeth. The lone dud featurette is The Color Purple: The Musical (7 mins.), another misnomer of sorts. Producer Quincy Jones and co. reflect on the period songs written for the film--The Color Purple aint comin to Broadway anytime soon, in other words. Animated galleries of behind-the-scenes stills and cast photos round out Disc Two and the distinguished package piece refers to the 119-minute directors cut of Eves Bayou found on a Signature Series DVD from Lions Gate. (The theatrical version is 110 minutes in length.) The character of Uncle Tommy (the closing titles were not updated to credit the man who plays him), a cerebral palsy sufferer residing in Eves manse, is the most noteworthy restoration to the film; for a complete guide to alterations, either of Lemmons thorough commentaries is the best Jackson, Smollett, Good, Lynn Whitfield, Debbi Morgan, and Vondie Curtis-Hall (Lemmons real-life spouse) join Lemmons for one yak-track, producer Cotty Chub, editor Terilyn A. Shropshire, and director of photography Amy Vincent for another. Although participants in both yak-tracks tend to collapse into fits of group giggles, everything from the films mirror imagery to performance motivations receives mention. Lemmons short Dr. Hugo (see above sidebar), a trailer for Eves Bayou, and an Easter Egg link to a commercial for Monsters Ball complete the disc. The audio-visual presentation of Eves Bayou itself is average: the 16x9-enhanced 1.85:1 image improves upon that of Trimarks non-anamorphic DVD, issued in the late-90s, but it isnt on a par with many of Lions Gates recent stellar transfers. The Dolby Digital 5.1 mix rumbles the room intermittently.-Bill Chambers好友,这是我转载的一篇,通知你网址,要找英文影评以后就找准这个网站哟.
