因而，它在本质上是一种神话形象…
因而，它在本质上是一种神话形象。
本文从神话思维、神话形象、神话情节、神话主题等若干方面论述神话与神魔小说的关系。
This text expounds the relations about mythology and supernatural-evil spirit novels from mythical thinking, mythology vivids, mythical plots, mythical themes, etc.
埃斯库罗斯还写了一本记录神话形象普罗米修斯一生的三部曲，可惜的是只有第一部——《被缚的普罗米修斯》保存了下来。
Aeschylus also wrote a trilogy chronicling the life of the mythological figure Prometheus, but only the first play, "Prometheus Bound," has survived.
如果你们读过《欢乐颂》和《沉思颂》，你就会知道，伟大的神话诗人俄耳甫斯对弥尔顿来说一直是个意味深长的形象。
If you've read L'Allegro and Il Penseroso, you know that the image of the great mythological poet Orpheus is always a loaded one for Milton.
虽然这有点道理，但是，如同其它民族神话一样，对于一个国家的形象而言，最重要的是该国人民是如何将他们最珍视的东西展示出来。
There is some truth in all this but, as with other national myths, their real importance is in what they reveal about those who hold them dear.
虽然弗雷泽塔的唱片专辑封面艺术经常描绘中世纪野蛮神话，也许他更知名是因为他所画的女人形象。
While Frazetta’s record album art often explored the mythos of the medieval barbarian, he is perhaps better known for his portrayal of women.
这在神话中的起源应该是,一个叫做厄洛斯的神这个形象,他是爱神，爱情女神阿佛洛狄忒的儿子。
The mythological source is in the sort of mythological character of the God called Eros, who is the God of love, the son of Aphrodite, the Goddess of love.
几千本小说和几百部电影的美化使得美国牛仔的形象神话般分不清是真实的还是传奇故事。
Glorified in thousands of novels and hundreds of motion pictures, the American cowboy is so mythologized that the reality and the legend are almost inseparable.
罗马人接受了希腊神话的众神，并在自己的文化里创造出对应的形象。
The Romans adapted the Greek gods and made their equivalents.
套用、化用文学典故以及文学作品或者神话故事中的人物语言和人物形象，来加强资本论的文学色彩和艺术感染力。
III. To quote or adapt literary allusions, characters' language and images in literary works or fairy stories to better the literary style and strengthen the artistic appeal of Capital.
可以建构一个形象的神话。
从卡尔·维诺的文学批评中可以看到很多他编织进自己作品的主题：城市的形象，控制论，神话和民间故事，英雄文学的冒险旅程。
From Calvino's criticism emerge many of the themes that are woven into his own work: the image of the city, cybernetics, myth and folktale, the heroic journey.
女性是神话中独具魅力的形象。
她以女性特有的视角，塑造了一系列内心懦弱、自私、功利的男性形象，消解了传统意义上的男性“神话”。
She modeled a series of men figures who were with cowardice, selfishness and utility on women's unique angle of view , and eliminated traditional men "mythology".
因此，在文学和流行文化中出现的怪兽形象被视为“一种神话般的大自然毁灭性力量的象征”，美国作家帕特里克•马西亚告诉英国广播公司。
As a result, the kaijus that appear in literature and pop culture are seen as "a mythic *personification of natural destructive forces", American writer Patrick Macias told the BBC.
成为爱情辅助的马形象具有神话史诗的根源和传承。
And We discuss the origin and transmitting of myth's epopee in assisted image of horse sequentially.
一切神话都是把自然力加以形象化。
“看林人”这一形象的神话内核显然来自《金枝》神话中关于祭司这一角色描写。
The image of "the game keeper" comes from the description of the flamen in the Golden Bough obviously.
第一章，主要分析蒙古族民间情歌中马形象的神话根源和史诗传承。
First chapter, mainly analyze the myth's origin and epopee's transmitting of the horse's image in the love song of Mongolia.
中西神话在神话起源、神的形象及其变化、神的本性和婚姻文明等方面都存在较大差异。
Chinese and Western mythology are quite different in their origin, the images of Gods and their change, Gods' nature and marriage civilization.
《美妇人诗吟》的抒情主人公是一个复式多层面的神话象征形象，其深层结构由宇宙灵魂与宇宙元素组成。
The lyric protagonist in The Belles Longs and Shorts was a mythical multi-layered character whose deep psyche was composed with universal elements.
人们根据形象特征，分别冠以神话名称，如狄安娜神庙、波罗门寺宇、阿波罗神殿等。
People according to image features, respectively, the myth branded names, such as the temple of Diana, the Baltic door temples, the temple of Apollo and so on.
文章从神话的来源、本质、思想观念、神的形象塑造等几个向度对中国神话和希腊神话进行比较，试图找出它们的异同点。
This paper tries to find out their similarities and differences through a study of their origins, natures, basic ideas and the formation of divine images.
神话是人类形象思维的产物，涉及自然世界和人的主体世界，用形象的方式解释自然，表现人生，反映真实。
Mythology is a product of human imaginary thinking involving nature and subjectivity, it explains nature imaginatively, expresses life and reflects reality.
一个起源于设计上坚固无比的神话，它的形象体现无穷力量，它的线条体现精制的典雅。
A myth rooted in the universal strength of its design, the timeless power of its image and the refined elegance of its lines.
从上古神话到全面成熟的明清小说，伴随着民族文化的历史进程与小说审美素质的渐次提高，小说人物形象逐渐由幼稚走向成熟。
From the ancient myths to the mature Ming and Qing novels, the novel characters gradually move to maturity with the historical advance of folk culture and the improved level of aesthetic quality.
从上古神话到全面成熟的明清小说，伴随着民族文化的历史进程与小说审美素质的渐次提高，小说人物形象逐渐由幼稚走向成熟。
From the ancient myths to the mature Ming and Qing novels, the novel characters gradually move to maturity with the historical advance of folk culture and the improved level of aesthetic quality.
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