Jameson himself reminds us of the dangers.
詹姆逊自己也提醒我们这其中的危险。
In the game, Kyle was voiced by actor Nick Jameson.
在游戏中，演员尼克·詹姆森为凯尔配音。
"I don't think I would get past the front door," Mr Jameson says.
Jameson先生说：“我想今天我可能连大门都进不去。”
There was only one person besides Ford who knew Julia Jameson.
除了福特以外，只有一个人认识朱莉娅娅·詹姆森。
Betty Jameson was another woman important in the world of sports.
贝蒂·詹姆森是另一名女子在体育世界的重要。
Betty Jameson died in two thousand nine. She was eighty-nine years old.
贝蒂·詹姆森于2009年去逝，享年89岁。
Jameson agrees and additionally calls for a "back to basics" auditing approach.
Jameson同意增加“回到最基础部份”的审计方法。
The LPGA gained the attention of many news organizations. They considered Jameson and others to be beautiful women.
LPGA引起了许多新闻媒体的注意，他们认为詹姆森这一帮女人都是非常漂亮的女性。
Today we tell about two women who helped change the world of sports, golfer Betty Jameson and basketball coach Kay Yow.
今天，我们讲述两个女人谁帮助改变了体育界，高尔夫球和篮球教练贝蒂詹姆逊凯佑。
For dispelling the pessimism of the people this space causes, Jameson introduces such ideal mode of "cognitive mapping".
为了消除这种空间带给人们的悲观主义，詹姆逊引入“认知绘图”这种理想模式。
As Jameson says, these two dangers at the first level are the danger of structuralism and the danger of vulgar materialism.
正如詹姆逊所说，第一层次的这两种危险，是结构主义的危险，和庸俗唯物主义的危险。
Finally, Jameson connects history with text, and constructs himself culture and hermeneutic system: three concentric circles.
最后，詹姆逊打通了历史与文本，形成自己的文化阐释系统：三个同心圆。
There were also much leakage gap within the interpretation framework of three concentric circles which was cherished by Jameson.
为詹姆逊甚为自得的三个同心圆阐释框架内部也存在着不少的漏隙。
The post-colonial-criticism in China actually comes from two theoretical sources: the theory of Fredric Jameson and the theory of Edward W.
中国后殖民批评的理论源头有两个：杰姆逊和赛义德。
Jameson gives a very good example of because part of the mystery of these clashes is that they always present themselves within a Shared code.
詹姆逊举了一个很好的例子，因为这些矛盾的神秘之处部分在于，它们通过共有的编码来展现自己。
It's in that context that Jameson is dropping these particular names non-chronological markers of the emergence of realism in its modern form.
因此詹姆逊列出了这些人物，将他们作为，现代形式下的现实主义产生的，并非按时间顺序排列的标志性人物。
Now a reified realist approach to Tony, the kind that Jameson criticizes on the sheet, would point out that nothing happens to Neato and Speedy.
詹姆逊在这篇文章中批评了这种方法，用这种方法，我们能够得出,没有事情发生在Neato和Speedy身上的结论。
Jameson asserts that internal auditors should develop an understanding of financial statements and provide a complementary and concurrent check.
Jameson称，内审师应该开发一种优秀的财务报表并提供互补互助的审计方式。
The last part evaluates Jameson "s mass culture theory and points out that it may serve as reference to our contemporary cultural undertakings."
第五部分评价詹明信的大众文化理论，并指出其对我国当前大众文化建设的参考意义。
For the handful of archaic words which Jameson USES (USES repeatedly, in many cases), a short glossary has been provided on the final page of each libretto.
对于詹姆逊使用的为数不多的陈旧过时的话(很多情况下重复使用)已在每本的最后一页作了汇总。
Roman colonnades are mixed with Georgian windows, and so on. Jameson believes tha this schizophrenia comes about as a result of a refusal to think historically.
罗马式柱廊混合乔治王时代的窗饰，如此种种。詹姆森坚信这种分裂性是拒绝运用历史眼光思考问题的后果。
The common complaint is that it is outdated and incomprehensible; yet the old-fashioned style which Jameson adopts is in conscious imitation of Wagner's equally old-fashioned German.
最常见的批评是它旧式的表达方式，这使得它很难理解，以及它老式的风格，詹姆逊采用的是与瓦格纳的老式德语一样的风格。
Absorbing some psychoanalysis points of view, Jameson thinks that dialectical criticism should demonstrate the content of literary works, suppressed unconsciousness and original experience.
詹姆逊吸收了精神分析学的某些观点，认为“辨证的批评”应当显示文艺作品的内容，揭示被压抑的无意识和原始经验。
Firstly, Jameson regards history as ultimate context of his poetics of culture and hermeneutic, thinking all literary culture texts can be interpreted better only in the history of totality.
首先，詹姆逊将历史视为其文化阐释诗学的终极视域，认为一切文学文化文本，只有放置在总体性的历史之中，才能得到更好地说明。
The paper receives Fredric Jameson' describe about the post-modern stage—which is the disappearance of the model of depth—in the analysis of the experience and the forms of post-modern time.
在对后现代时间经验和样态的浅析浅析中，文章基本接受了詹明信对后现代时期的描述：深度模式的消失。
The paper receives Fredric Jameson' describe about the post-modern stage—which is the disappearance of the model of depth—in the analysis of the experience and the forms of post-modern time.
在对后现代时间经验和样态的浅析浅析中，文章基本接受了詹明信对后现代时期的描述：深度模式的消失。
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