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大纲词考频

literary中等

考点词a. 文学上的,文学的;精通文学的,从事写作的
13真题出现次数
6套试卷
2次落在考点上

义项分布 · 点义项筛选原句

  • a. 精通文学的,从事写作的未考
真题原句共 13 句

a. 文学上的,文学的13 次

  • They also “appear to be more comfortable writing in role...while [control] pupils imagine how they themselves would react to being shipwrecked, [target] children put themselves in the shoes of a literary character and express that character’s emotion”.

    他们也“似乎更善于以角色身份写作……[对照组]学生想象的是自己遭遇船难会作何反应,而[实验组]孩子则设身处地站在文学人物的角度,表达该人物的情感”。

  • Identifying with literary characters.

    认同文学人物(与其产生共情)。

  • “This is all part of a wider change towards concentration of power,” says literary agent Andrew Lownie.

    “这都是权力走向集中这一更广泛变化的一部分,”文学经纪人安德鲁·朗尼说。

  • a literary phenomenon.

    一种文学现象。

  • Everything he achieved in life was earned the hard way and his success in the literary field was no exception.

    他一生所取得的一切都来之不易,他在文学领域的成功也不例外。

  • These new forms were at first mainly written by scholars and performed by amateurs, but in England, as everywhere else in western Europe, the growth of a class of professional actors was threatening to make the drama popular, whether it should be new or old, classical or medieval, literary or farcical.

    这些新形式起初主要由学者创作、由业余演员表演,但在英国,正如在西欧其他各地一样,职业演员阶层的壮大正使戏剧趋于大众化,无论它是新是旧,是古典的还是中世纪的,是文学性的还是闹剧性的。

展开其余 7 条
  • Plays aiming at literary distinction were written for schools or court, or for the choir boys of St. Paul’s and the royal chapel, who, however, gave plays in public as well as at court.

    追求文学造诣的剧本是为学校或宫廷而写,或是为圣保罗大教堂和皇家礼拜堂的唱诗班男孩而写的,不过这些男孩既在宫廷演出,也公开演出。

  • (48) But the professional companies prospered in their permanent theaters, and university men with literary ambitions were quick to turn to these theaters as offering a means of livelihood.

    (48) 但职业剧团在其固定的剧院里兴旺发达,怀有文学抱负的大学毕业生很快就转向这些剧院,把它们当作谋生之道。

  • By the time that Shakespeare was twenty-five, Lyly, Peele, and Greene had made comedies that were at once popular and literary; Kyd had written a tragedy that crowded the pit; and Marlowe had brought poetry and genius to triumph on the common stage — where they had played no part since the death of Euripides.

    到莎士比亚二十五岁时,黎里、皮尔和格林已经创作出既通俗又具文学性的喜剧;基德写出了一部令正厅后排座无虚席的悲剧;马洛则让诗歌与天才在大众舞台上大放异彩——自欧里庇得斯去世以来,它们在大众舞台上从未发挥过作用。

  • (49) A native literary drama had been created, its alliance with the public playhouses established, and at least some of its great traditions had been begun.

    (49) 本土的文学戏剧已经诞生,它与公共剧院的联盟已经建立,并且至少它的一些伟大传统已经开创。

  • The development of the Elizabethan drama for the next twenty-five years is of exceptional interest to students of literary history, for in this brief period we may trace the beginning, growth, blossoming, and decay of many kinds of plays, and of many great careers.

    此后二十五年伊丽莎白时代戏剧的发展,对研究文学史的人来说格外有意义,因为在这短短的时期内,我们可以追溯许多种戏剧以及许多伟大事业的开端、成长、繁荣与衰落。

  • Now he’s living in a council flat and fielding offers from literary agents.

    如今他住在政府提供的廉租公寓里,并应对着文学经纪人纷至沓来的邀约。

  • This could be no more than a passing literary craze, but it also points to a broader truth about how we now approach the past: less concerned with learning from forefathers and more interested in feeling their pain.

    这或许只是一时的文学风潮,但它也揭示了我们如今看待过去的方式中一个更普遍的事实:不那么在意向先辈学习,而更有兴趣去感受他们的痛苦。