ghost story
音標(biāo)發(fā)音
- 英式音標(biāo) [?ɡ??st ?st??.ri]
- 美式音標(biāo) [?ɡo?st ?st??r.i]
- 英式發(fā)音
- 美式發(fā)音
基本解釋
- 鬼故事，神怪小說(shuō)
英漢例句
- I say, "What kind of a ghost story?
我問(wèn)他們，“要講什么樣的鬼故事？” - The ghost story frightened the pants off me.
這個(gè)鬼故事把我嚇得夠嗆。 - What drew my attention to Allen Upward was that he was a kind of fantasy/mystery/ghost story writer of 100 years ago that has dropped right out of sight.
我之所以會(huì)把目光轉(zhuǎn)到阿倫·厄普沃德身上，原因在于他是100多年前的傳奇/神秘/幽靈故事作家，而且正好一直沒(méi)多少人關(guān)注。 - It's the story of the old opera house and the ghost of the opera, right?
這個(gè)故事講的是一所老歌劇院和歌劇院的幽靈，對(duì)吧？
歌劇魅影 - SpeakingMax英語(yǔ)口語(yǔ)達(dá)人 - The constantly evolving Japanese ghost story reflects the changes in the country's social and cultural values.
ECONOMIST: There is more than you think to the haunting of Japan - Literalized in the movie, the material is closer to a high-toned ghost story.
NEWYORKER: The Lovely Bones - But suffice to say it is a taut, well-written story, which manages to do something new and different with the traditional ghost story.
FORBES: This Might Take A Little While
雙語(yǔ)例句
原聲例句
權(quán)威例句
詞組短語(yǔ)
- Ghost and Story 化物語(yǔ)
- Ghost Love Story 猛鬼愛(ài)情故事
- The -ghost-story 烈鬼蜮
- The Chinese Ghost Story 人鬼狐篇;倩女幽魂
- An American Ghost Story 恐怖亡靈
短語(yǔ)
英英字典
- a frightening story about ghosts and their activities
- A ghost story is a story about ghosts.
劍橋英英字典
柯林斯英英字典
專業(yè)釋義
- 鬼故事
The modernist and postmodernist narrative techniques Morrison adopted include: the dislocated time of Beloved, with emphasis on the non-chronologicality in the text, the blurry between the past and the present, and the theme the temporal devices reveal; the shifting of different focalizations of Beloved, including zero focalization, external Realization and internal Realization, and finds that the Realization in Beloved is often changing or even mixed; the blurry genre, Beloved is a novel that straddles generic forms, it is both a ghost story and a historical novel; and the Stream of consciousness and interior monologue, which helps Morrison explore the physical and psychological damages slavery had inflicted on the ex-slaves.
受現(xiàn)代主義及后現(xiàn)代主義的影響,莫里森運(yùn)用了支離破碎的時(shí)空概念、跳躍的視角、模棱兩可的文體及意識(shí)流和內(nèi)心獨(dú)白的敘事手法。 在支離破碎的時(shí)空概念中著重探討了文本中的非線性的敘述和時(shí)間界限的模糊性,指出了這些技巧在主題揭示上的意義;跳躍的視角對(duì)《寵兒》的多重視角—零聚焦、外聚焦和內(nèi)聚焦進(jìn)行了分析,發(fā)現(xiàn)小說(shuō)中的視角是經(jīng)常變化甚至是重疊的;《寵兒》從文體上跨越了鬼故事和歷史小說(shuō)兩種體裁;通過(guò)意識(shí)流和內(nèi)心獨(dú)白的敘事手法更深刻地揭露奴隸制對(duì)奴隸身心的重創(chuàng)。