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英文 高中

請問第一句in which 的in如果要拿到後面去該怎麼改

2. This law orders that old, inaccurate search results should the person involved request it. 這個法律明訂,如果相關人士要求的話,老舊、不正確、或是不恰當的資訊就 得被從搜索結果中移除。 3. According to the EU law, data would only be removed if the impact on the individual's privacy is greater than the public's right to the information, though the threshold is ambiguous. 根據這條歐盟法律,只有當資料影響私人生活之後果大於大眾知曉的權利下, 資料才會被從搜尋網站結果移除,儘管這個判定很模稜兩可。 23 瑪莎·長度 三、文意選填 (21~30) “The fourth wall” is a performance convention in which an invisible, imagined wall separates actors from the viewing crowds. While the convention 2l assumes the audience can see through this "wall", the actors act as if they cannot. From the 16th century 22onwards, the rise of illusionism in staging practices led to the development of the fourth wall concept. When a scene is set indoors and three of the walls of its room are presented "onstage in what is known as a box set, the "fourth" of them would run along the line which divides the stage from the audience. The "fourth wall”, 24though, is a theatrical convention, rather than that of set design. The actors ignore the audience, focus their attention exclusively on the dramatic world, and remain 25 absorbed in its fiction. In this way, the fourth wall exists regardless of the presence of any actual walls in the set, or the physical arrangement of the theatre building or performance space, or the actors’ 2° distance from or proximity to the audience. “Breaking the fourth wall” is any instance in which this performance convention is 27 violated. This can be done through either directly 28 referring to the audience, or the play as a play. In children's theater, for example, a character might ask the children for help, as when Peter Pan appeals to the audience to applaud in an effort to revive the fading Tinker Bell (“If you believe in fairies, clap your hands!"). The temporary suspension of the convention in this 馬奎斯 29 勒·柯比意 TOTT 30 de

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英文 高中

麻煩幫我解釋黃線上文章的構造~ 請問worsened 跟 pervading 的構造上的意思是什麼? ex)形容詞,主詞等等

Unit 2 When you visit temples, you must have seen divine guardians placed on gates or doors. In Chinese folk religions, they are Menshen, or door gods. They are usually paired pictures of mythological or deified historical figures to guard against evil influences and bring harmony to the household, Their bright eyes and lively martial expressions are the innovation of Liu Chia-Cheng, who blends Chinese ink-wash with Western painting techniques and defines the image of door gods in Taiwan. Starting young, Liu showed striking artistic talent in their simple country village. He was amazed by the rich hues used to depict the revered temple figures and decided to dedicate himself to temple arts. However, temple arts were largely despised because the Japanese government banned folk religions and very few temple painters remained. The crude paintings produced worsened the pervading low opinion of temple arts. When people sneered, Liu put heart and soul into learning Chinese-style portraiture, landscapes and Western- style oils and water colors. Moreover, he also studied anatomy to get a better grasp of poses and expressions. These efforts are never in vain. Liu's door gods retain a sense of tradition in spite of their realism and three-dimensionality, and possess a unique charm Door gods are supposed to complement the principal gods dwelling in the temple According to Liu, the major problem of Taiwanese temples nowadays is the mismatch between door gods and the principal gods. A Taoist god should be paired with Taoist doo gods, Qin Shubao and Yuchi Gong. A Buddhist deity should be protected by Buddhis figures, Wei Tuo and Jia Lan. Low-ranking gods, such as the local Earth God, ar rarely paired with any door gods. (He once renovated a temple serving dark gods of the underworld whereas the door gods were the highest-ranking generals who only serve th- Jade Emperor, the Taoist supreme god. ]“That would frighten the visiting ghosts!” Liu saic Decades of efforts have brought Liu a number of accolades. He was named a Livir National Treasure in 2016. For all that time has passed, Liu has painted and renovate more than 400 temples in his career. In recent years, Liu has worked on project to produ a visual database for more than 100 door gods. He is not yet ready to rest on his lauren One brushstroke at a time, he still paints to sketch the future of temple arts in Taiwan. Wei Tuo and Jia Lan 韋馱、伽藍菩薩;Qin Shubao and Yuchi Gong 秦叔寶、尉遲恭

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