从四个方面分析了《罗生门》中登场人物的相互关系。
The relationship between the characters in Rasyoumonn is analyzed .
其他的成功影片还包括《七武士》、《罗生门》和《蜘蛛巢城》等。
Other successful films include The Seven Samura, Rashomon, The Throne Of Blood etc.
本文从具体物象的空间、象征性的空间、时间标识物的空间三个角度解读《罗生门》的空间艺术。
This paper deals with the art of space in Rashomon from three angles of space: space of real substance, space of symbol and space of time-mark.
他的回答是：“罗生门”反映的是人生，而人生通常情况下没有什么明确的意思的。在他的传记中也是这么说的。
"The answer Kurosawa gave at that time and also in his biography is that" Rashomon "is a reflection of life, and life does not always have clear meanings."
本书作者芥川龙之介一生写了150多篇现代主义短篇小说，但未涉足长篇。芥川龙之介仅在17岁的时候就在大学杂志上发表了小说《罗生门》。
Thee author of more than 150 modernist short stories, but no full-length novels, Ryunosuke published Rashomon in a university magazine when he was just 17.
本书作者芥川龙之介一生写了150多篇现代主义短篇小说，但是从来没有写过长篇巨作。 《罗生门》是芥川龙之介发表在大学杂志上的一篇小说，当时他只有17岁。
The author of more than 150 modernist short stories, but no full-length novels, Ryunosuke published Rashomon in a university magazine when he was just 17.
事实上，当日本受邀提交一部影片参加威尼斯电影节时，最初正是此类影片中的一部——今井正(ImaiTadashi)的《待到重逢时》(UntilWeMeetAgain, 1951)获得了推荐，不过最终被选中参赛的却是《罗生门》。
In fact one such, Imai Tadashi's Until We Meet Again (1951), had initially been proposed when Japan was invited to submit a film at Venice, but it was Rashomon that was ultimately chosen.
事实上，当日本受邀提交一部影片参加威尼斯电影节时，最初正是此类影片中的一部——今井正(ImaiTadashi)的《待到重逢时》(UntilWeMeetAgain, 1951)获得了推荐，不过最终被选中参赛的却是《罗生门》。
In fact one such, Imai Tadashi's Until We Meet Again (1951), had initially been proposed when Japan was invited to submit a film at Venice, but it was Rashomon that was ultimately chosen.
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