尤其是在当下，银幕上的农民形象日趋寂寞。
Especially, the upper screen peasant image is getting loneliness gradually.
农民形象在当代文学中明显占据着重要的位置。
The image of peasants obviously occupies an important position in contemporary literature.
关注农村现实、刻画农民形象一直是贾平凹文学创作的重心。
Concerned about the rural reality, depicts the image of the peasants has been the focus of Jia Ping-wa literature.
在彼此的联系比较中找出农民形象创作的各方面因素之间的关系。
It finds the relations among the factors of creation about the peasant's image.
通过国内、国外纵和横的比较联系中，得出农民形象创作并没有失去意义的结论。
Through it, there is a conclusion that the peasant's image does not loose its meaning.
在新时期银幕形象中，多姿多彩的农民形象系列，形成了一道独特而靓丽的风景线。
In the new period, the series of farmer film image has formed a unique but beautiful scenery line, which is varied and graceful.
但与此同时，也出现了一些声音，认为表现农民形象的绘画已经过时、没有存在的意义了。
At the same time, however, there are some people who argue that it is outdated about peasant's image and it isn't useful to exist.
第四章笔者则选取悲剧意识、自然生命意识、当代意识这三个审美范畴来思考农民形象自身审美特征的演绎。
The fourth chapter author demonstrated the esthetic characteristic from these three esthetic categories such as the tragedy consciousness, natural life consciousness, current consciousness.
本文也拟就对当代中国油画中的农民形象的诸多方面进行解析，也希望得出的结论能被人们认可或达到共识。
The article will give an analyzation on peasants images in Chinese Contemporary Oil Painting through some aspects, hoping to achieve a common understanding or to be accepted.
纵观西方艺术史，现实主义绘画在美术史中占有十分重要的地位，出现了许多表现农民生活和农民形象的绘画大师。
Throughout the history of western art, Realistic Paintings played an crucial role in the artistic history, and there were many painting masters who manifested the lives and images of farmers.
一些媒介制造的话语甚至以傲慢与歧视的态度对待农民，有意无意地扭曲农民形象，塑造着全社会对于农民的刻板成见。
Some discourse created by the mass media even describes the peasants in an arrogant and prejudicial way, distorting their image, leading the whole society to a negative stereotype of the peasants.
第二章主要探讨了农民形象因时代文化思潮的变迁与创作主体多元文化选择的差异而形成的在二十多年来小说中的嬗变轨迹。
The second chapter mainly has discussed the evolution path of the farmer image because of time culture ideological trend vicissitude and the writer's different choice.
周立波反映湖南农村生活的短篇小说，继承了鲁迅以来的中国乡土小说传统，以湖湘农民形象的刻划、方言的运用和湖湘景色的描写来表现基层农村社会的原生态美。
They show aboriginal beauty of grass-roots country society by means of depicting the image of Hu Xiang farmers, applying for dialect and describing Hu Xiang landscape.
有这样一个关于奥巴马的形象，在绿色田野农藏的背景里奥巴马走进以为农民。
There was an image of Obama walking next to a farmer, with silos and green fields in the background.
为了继续保持我们农民苗木的良好形象，可以坦诚向顾客承诺：为了顾客方便，可提供送货上门。
Farmer in order to continue to maintain our good image of seedlings can be frank commitment to their customers: for customer convenience, can provide door-to-door.
底层文学关注社会转型时期底层人的命运转折，塑造了农民、工人、外地人等底层人物形象。
Citizen literature focuses on the fate of the lower class in social transitional period, building up the images of peasants, hand laborers, outsiders, etc.
大部分农民都有一副固定的乡巴佬形象。
从加布里埃尔和芭斯西芭到苔丝和安琪，再到苏和裘德，哈代小说中的主要农民人物的形象不断变化。
Ranging from Gabriel, Bathsheba, Tess and Angel to Jude and Sue, the images of the main farmer characters are largely different.
文人在文学创作上，没少以“农民”形象为主要描写的对象。
The writer in the literary production, has not been short take "the farmer" the image as the main description object.
端木蕻良笔下的黑土地总是与生命的孕育和希望联系在一起，不仅展示了200年土地变迁史，而且形象地描绘了农民从土地崇拜到土地意识觉醒的过程。
It not only has demonstrated the vicissitude history of the land for 200 years, but also described vividly the farmers process from the land worship to the land consciousness.
第二类主要表现人们在不同岁时节令和人生礼仪中的活动情景，形象地反映出中阳地区农民生产生活的习俗。
The second category mainly people in different age and life time through ritual activities in the scene vividly reflected in the production and life of farmers in Shenyang customs.
而媒体作为舆论公器，其建构的农民工形象从一定程度上就是整个社会对这个群体的价值判断和认识，显得相当重要。
The media device as a media company, which constructs the image of migrant workers is to some extent from the community to judge the value of this community and awareness is very important.
概括了刻意追求农民工苦难形象的缺陷及农民工影片新走势。
Finally, the conclusion summarizes the defect of pursuing the suffering image of migrant workers painstakingly and the new trend of the films and televisions about migrant workers.
概括了刻意追求农民工苦难形象的缺陷及农民工影片新走势。
Finally, the conclusion summarizes the defect of pursuing the suffering image of migrant workers painstakingly and the new trend of the films and televisions about migrant workers.
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