| 单词 | 文艺复兴 |
| 释义 | 〔key〕A tonal system consisting of seven tones in fixed relationship to a tonic, having a characteristic key signature and being since the Renaissance the structural foundation of the bulk of Western music; tonality.调、主音：包括七个与主音有固定关系的音色的调音系统，有独特的调号，自文艺复兴以来一直是西方音乐主体的结构基础；调性〔Florentine〕Of or relating to the style of art and architecture that flourished in Florence, Italy, during the Renaissance.佛罗伦萨式的：文艺复兴时期有关于在意大利佛罗伦萨兴起的艺术风格和建筑风格的〔Foxe〕English prelate and exponent of Renaissance learning in England. He founded Corpus Christi College at Oxford University (1515-1516).福克斯，理查德：(1448?-1528) 英国高级教士和文艺复兴时期的代表学者。创立了牛津大学基督圣体学院（1515-1516年）〔Correggio〕Italian High Renaissance painter known for his use of chiaroscuro. Among his works are devotional pictures, includingHoly Night, and frescoes, such as those in the convent of San Paolo in Parma (1518). 科勒乔，安东尼奥·阿莱格林·达：(1494-1534) 文艺复兴高潮期意大利画家，以其运用阴暗对照法著名。他的作品包括宗教画（如《平安夜》 ）和壁画（如1518年帕尔马市圣保罗修道院的壁画） 〔Florence〕 or Also Fi.ren.ze [fē-rĕnʹdzĕ] A city of central Italy on the Arno River east of Pisa. Originally an Etruscan settlement, then a Roman town, Florence was a powerful city-state under the Medici family during the Italian Renaissance, with a brilliant artistic flowering led by Giotto, Michelangelo, Leonardo da Vinci, Dante, and Raphael. Population, 453,293. 或 也作 Fi.ren.ze [fē-rĕnʹdzĕ] 佛罗伦萨：意大利中部一城市，位于比萨城东的阿尔诺河畔。最初为一片埃特鲁斯坎人的拓居地，后成为罗马的一个城镇，在意大利文艺复兴时期是一座在梅迪契家族统治下的强大城邦，并涌现出了以乔托、米开朗基罗、莱昂纳多·达·芬奇、但丁和拉斐尔为代表的一批杰出艺术家。人口453,293〔primitive〕One belonging to an early stage in the development of an artistic trend, especially a painter of the pre-Renaissance period.早期艺术家：某一艺术思潮发展初期阶段的艺术家，尤指文艺复兴以前的艺术家〔fading〕"The final factor in the fading of the Renaissance was the Counter Reformation"(Will Durant)“最终导致文艺复兴走向衰退的因素是反改革”(威尔·杜兰特)〔Raphael〕Italian painter whose works, including religious subjects, portraits, and frescoes, exemplify the ideals of the High Renaissance.拉斐尔：意大利画家，他的宗教主题绘画，肖像画，壁画等作品集中代表了文艺复兴全盛时期的思想〔renaissance〕The period of this revival, roughly the 14th through the 16th century, marking the transition from medieval to modern times.文艺复兴时期：大约从14世纪到16世纪的复兴时期，标志着从中世纪到现代时期的过渡〔Platonic〕Plato did not invent the term or the concept that bears his name,but he did see sexual desire as the germ for higher loves.Marsilio Ficino, a Renaissance follower of Plato,used the termsamor socraticus and amor platonicus interchangeably for a love between two human beings that was preparatory for the love of God. From Ficino's usagePlatonic (already present in English as an adjective to describe what related to Platoand first recorded in 1533) came to be used for a spiritual love between persons of opposite sexes.In our own centuryPlatonic has been used of relationships between members of the same sex. Though the concept is an elevated one,the term has perhaps more often been applied in waysthat led Samuel Richardson to have one of his characters inPamela say, "I am convinced, and always was, that Platonic love is Platonic nonsense.”柏拉图并没有发明带有他名字的术语或概念，但他的确将性欲看作更高层次爱的根源。文艺复兴时期柏拉图的信徒马尔西利奥·菲奇诺，交替地使用术语amor socraticus 和 amor platonicus 表示为上帝之爱准备的两个人之间的爱。 按照菲奇诺的用法Platonic （已作为一个形容词在英语中出现， 描述与柏拉图有关的事物，首次记录于1533年）逐渐被用来指异性之间的精神恋爱。在我们这个世纪,Platonic 已用于指同性伙伴之间的关系。 尽管这个词的概念是高尚的，但这个术语可能被更多地应用于一些方式，其导致塞缪尔·理查森让他的小说帕美勒 中的人物说： “我确信，而且一直确信，柏拉图式的恋爱是柏拉图的胡言乱语”〔Mantegna〕Italian painter and engraver who was a pioneer in the Renaissance style. Among his works are the altarpiece for the Church of San Zeno in Verona (1456-1459) and the wedding chamber at the Palazzo Ducale in Mantua (1474).曼特尼亚，安德烈亚：(1431-1506) 意大利画家和雕刻家，是文艺复兴风格的先驱，作品中主要有为维罗那的圣·吉诺教堂（1456-1459年）所做的圣坛作品和曼图亚都卡莱宫的婚礼厅〔Masaccio〕Italian painter of the Florentine school whose revolutionary use of linear perspective and mastery of light and shade profoundly influenced Renaissance painting.马萨乔：意大利佛罗伦萨画派画家，他革新运用的直线透视法以及其对光与影的精通对文艺复兴时期的绘画产生深远影响〔primitive〕Of or relating to late medieval or pre-Renaissance European painters or sculptors.原初主义画家的：属于或关于中世纪后期或文艺复兴之前的欧洲画家或雕塑家的〔humanist〕Humanist A Renaissance scholar devoted to Humanism. Humanist 信奉人文主义的文艺复兴学者〔Palladian〕Of or characteristic of the Renaissance architectural style of Palladio.帕拉迪奥风格的：文艺复兴时期的帕拉第奥建筑型式的或有其特点的〔Charlemagne〕King of the Franks (768-814) and founder of the first empire in western Europe after the fall of Rome. His court at Aix-la-Chapelle became the center of a cultural rebirth in Europe, known as the Carolingian Renaissance.查理曼：法兰克国王(768-814年），而且是罗马灭亡后西欧第一个帝国的创始人，他在艾克斯拉沙佩勒的宫廷成为欧洲文化复兴的中心，因加洛林文艺复兴而闻名〔Chambord〕A village of north-central France northeast of Tours. It is noted for its magnificent Renaissance château built by Francis I.钱伯德村：法国中北部一村庄，位于托尔斯东北。以文艺复兴时期弗朗西斯一世在此兴建的壮观华美的庄园而闻名〔Cullen〕American poet whose collectionsColors (1926) and Copper Sun (1927) established him as a leading figure of the Harlem Renaissance. 卡伦，康提：(1903-1946) 美国诗人，他的诗集《有色人种》 （1926年）以及 《古铜色的太阳》 （1927年）使他成为哈莱姆文艺复兴中的领袖人物 〔Seneca〕Roman Stoic philosopher, writer, and tutor of Nero. His works include treatises on rhetoric and governance and numerous plays that influenced Renaissance and Elizabethan drama.塞内加，卢西乌斯·安奈乌斯：(4) 罗马斯多葛派哲学家、作家、尼禄的私人教师，他的作品包括关于修辞学和统治的论文和大量的戏剧，曾影响了文艺复兴和伊丽莎白女王一世时代的戏剧〔Cesena〕A city of north-central Italy east-northeast of Florence. It flourished under the Malatesta family (1379)-1465), who founded its Renaissance-style library. Population, 67,600.切塞纳：意大利中北部一城市，位于佛罗伦萨东北偏东。在马拉特斯塔家族统治时期（1379-1465年）极为繁荣，该家族曾创建了文艺复兴风格图书馆。人口67,600〔Galen〕Greek anatomist, physician, and writer. His theories formed the basis of European medicine until the Renaissance.加伦：希腊解剖学家、内科医生和作家。他的理论奠定了欧洲医学的基础直至文艺复兴时期〔why〕Many critics have held thatwhy is redundant in the expression the reason why, as inThe reason why he accepted the nomination is not clear. It is true thatwhy could be eliminated from such examples with no loss to the sense, but the construction has been used by reputable English writers since the Renaissance.See Usage Note at where 许多批评家认为在the reason why 这种表达中， why 是多余的， 如在句子The reason why he accepted the nomination is mot clear.（他接受提名的原因不太明确。） why 可以从这种例子中除去，对句子意义并不影响， 但是自从文艺复兴以来这种结构已为颇有名望的英语作家的广泛应用 参见 where〔midwife〕"In the Renaissance, artists and writers start to serve as midwives of fame"(Carlin Romano)“在文艺复兴时期，艺术家和作家开始成为有声望的人”(卡林·罗马诺)〔Donatello〕Italian sculptor renowned as a pioneer of the Renaissance style with his natural, lifelike figures, such as the bronze statueDavid. 多那太罗：意大利雕塑家，是文艺复兴风格的先驱者，以其生动自然、形象逼真的人物像著名，代表作有青铜雕像《大卫象》 〔Este〕Italian noble family that prospered from the late 10th to the early 19th century and exerted great influence on Renaissance literature through its support of poets and dramatists such as Boiardo and Tasso.埃斯塔：意大利贵族家族，从10世纪晚期一直兴旺到19世纪早期，通过布雅多和塔索等人的诗歌和戏剧对文艺复兴运动产生巨大的影响〔David〕Dutch painter of religious subjects who is regarded as one of the most important Flemish primitives.戴维，杰勒德：(1460?-1523) 荷兰宗教主题画家，他被认为是最重要的佛兰芒文艺复兴艺术家之一〔Erasmus〕Dutch Renaissance scholar and Roman Catholic theologian who sought to revive classical texts from antiquity, restore simple Christian faith based on Scripture, and eradicate the improprieties of the medieval Church. His works includeThe Manual of the Christian Knight (1503) and The Praise of Folly (1509). 伊拉斯默斯，狄赛德留斯：(1466?-1536) 荷兰文艺复兴时期学者，罗马天主教神学家，他试图使古代的古典经文复兴，恢复基于《圣经》的朴素的基督教信仰，消除中世纪教的一些不当行为，他的作品包括《基督教骑士手册》 （1503年）和 《愚人颂》 （1509年） 〔Gentileschi〕Italian Renaissance painter whose works include self-portraits and paintings of courageous women of the Old Testament.真蒂莱斯基，阿尔特米西亚：(1593?-1652?) 意大利文艺复兴时期画家，作品包括自画像和旧约全书中勇敢妇女的油画〔Pater〕British writer remembered for his volumes of criticism, includingStudies in the History of the Renaissance (1873) and Appreciations (1889). 佩特，沃尔特·霍拉提奥：(1839-1894) 英国作家，因他的评论著作而为后世怀念，包括《文艺复兴史之研究》 (1873年）和 《论鉴赏》 (1889年） 〔Symonds〕British writer noted for his seven-volume seriesThe Renaissance in Italy (1875-1886). 西蒙兹，约翰·艾丁顿：(1840-1893) 英国作家，以其七卷系列丛书《意大利文艺复兴》 （1875-1886年）而著名 〔krummhorn〕A wind instrument of the Renaissance with a curving tube and a double reed.双簧弯管：文艺复兴时期的一种带有一个弯曲的吹管和双簧片的管乐器〔Hughes〕American writer. Through his poetry, prose, and drama he made important contributions to the Harlem Renaissance. His best-known works includeWeary Blues (1926) and The Ways of White Folks (1934). 休斯，（詹姆斯）兰斯顿：(1902-1967) 美国作家。他的诗歌，散文和戏剧对哈莱姆文艺复兴做出了重要贡献。他最著名的作品包括《消沉的蓝色》 （1926年）和 《白人的方式》 （1934年） 〔Plateresque〕Of or relating to a style of 16th-century Spanish architecture characterized by lavish ornament in a variety of motifs, especially Gothic, Renaissance, and Moorish.银匠风格的，装饰华丽的：属于或是关于一种十六世纪西班牙建筑形式的，其特色是使用各种主题的华丽装饰物，特别是哥德式、文艺复兴式和摩尔式的〔putto〕A representation of a small child, often naked and having wings, used especially in the art of the European Renaissance.裸童像：为小孩的形象，通常是裸体有翅膀，特别是指在欧洲文艺复兴时期的艺术作品所使用的〔earthenware〕Pottery made from a porous clay that is fired at relatively low temperatures. Faience, delft, and majolica are examples of earthenware.陶器总称：用有孔的黏土在较低火温下烧制成的器皿。一般包括上彩釉的陶器、荷兰白釉蓝彩陶器和文艺复兴时期意大利出产的花饰陶器〔couple〕Although the phrasea couple of has been well established in English since before the Renaissance, it has been criticized on several grounds.Grammarians used to insist thata couple of should be used only to refer to things closely linked to one another and so was improperly used in phrases such asa couple of years ago. This objection has not been heard in some time and was never well supported.Modern critics have sometimes maintained thata couple of is too inexact to be appropriate in formal writing. But the inexactitude ofa couple of may serve a useful communicative purpose, suggesting that the writer is indifferent to the precise number of items involved.Thus the sentenceShe lives only a couple of miles away implies not only that the distance is short but that its exact measure is unimportant. Furthermore,a couple of is different from a few in that it does not imply that the relevant amount is relatively small. One might say admiringly of an exceptional center fielder thathe can throw the ball a couple of hundred feet, but not, except ironically,a few hundred feet, which would suggest that such a throw was unremarkable. The usage should be considered unobjectionable on all levels of style.尽管a couple of 这个短语在文艺复兴之前就已在英语中形成， 它仍受到多方面批评。语法学家过去坚持认为a couple of 应该只用于指互相之间紧密相连的东西， 所以在a couple of years ago 这样的短语中用是不适当的。 这样的反对意见长时间没有人提起了，也从未受到太多支持。现代批评家有时也认为a couple of 太不精确，不能很恰当地用于正式的写作中。 但a couple of 的不精确性也有一种很有用的传达交流的意图， 表明作者对于所涉及的事物的精确数目并不太关心。因此她住的只有几英里远 这个句子不仅表明距离很远，同时也表明精确测量是不重要的。 另外a couple of 与 a few 的不同还表现在它不表示有关的数量是相对来说小的。 如果夸赞一个优秀的中外野球手，可以说他能把球抛几百英尺远 ， 若非如此的话，排除反意的可能，a few hundred feet 指抛这么远并没什么稀奇之处。 这种用法在各种文体上都是无可辩驳的〔preposition〕The doctrine that a preposition may not be used to end a sentence was first promulgated by Dryden, probably on the basis of a specious analogy to Latin,and was subsequently refined by 18th-century grammarians.The rule has since become one of the most venerated maxims of schoolroom grammatical lore.But sentences ending with prepositions can be found in the works of most of the great writers since the Renaissance.In fact, English syntax allows and sometimes requires final placement of the preposition.Such placement is the only possible one in sentencessuch asWe have much to be thankful for or That depends on what you believe in. Efforts to rewrite such sentencesto place the preposition elsewhere will have comically stilted results;for example:We have much for which to be thankful or That depends on that in which you believe. · Even sticklers for the traditional rule can have no grounds for criticizing sentencessuch asI don't know where she will end up or It's the most curious book I've ever run across. In these examples,up and across are used as adverbs, not prepositions, as demonstrated by the ungrammaticality of sentencessuch asI don't know up where she will end and It's the most curious book across which I have ever run. 介词不能用来结束句子这一理论最先是由德莱顿可能基于与拉丁语的一个似是而非的类比而提出的，接着又由18世纪语法学家加以改善琢磨，从此这一规则便作为学校语法教育中神化般的至理名言，但是用介词结尾的句子可以在文艺复兴以来大多数名家的作品中找到，事实上，英语句法中有时允许，甚至要求把介词放在最后这种放置。只有在下列句子中才是唯一可能的：We have much to be thankful for 或 That depends on what you believe in 。 要改写这种句子，如把介词放在别处则会产生做作的滑稽效果；例如:We have much for which to be thankful 或 That depends on that in which you believe · 即使是那些拘泥于传统规则的人也找不出理由去批评这样的句子，如I don't know where she will end up 或 It's the most curious book I've ever run across 。 在这些例子中up 和 across 被用作副词， 而不是象以下句子中的违反语法现象所显示的那样是介词：如I don't know up where she will end 和 It's the most curious book across which I have ever run 〔Italic〕italic Abbr. ital.Of or being a style of printing type patterned on a Renaissance script with the letters slanting to the right: italic 缩写 ital.斜体的：文艺复兴时的手写体，其字母都倾向右边的印刷体，或形成一套这种印刷体的：〔renaissance〕The humanistic revival of classical art, architecture, literature, and learning that originated in Italy in the 14th century and later spread throughout Europe.文艺复兴：古典艺术，建筑，文学和学识的人文主义复兴，起源于14世纪的意大利，后来蔓延到整个欧洲〔Lippi〕Italian Renaissance painter whose works, includingMadonna Enthroned (1437), display a bold three-dimensional style. 利皮，菲利波：(1406?-1469?) 意大利文艺复兴时期的画家，他的作品包括《圣母加冕》 （1437年），显示了鲜明的立体风格 |
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