inexorable怎么讀 殘酷，英文怎么說？

不屈不撓 用英語怎么說？殘酷，英文怎么說？請英語高手幫我點(diǎn)評(píng)我的這篇英語四級(jí)作文，非常感謝，inexorable是什么意思？鄧博弘的鄧博弘觀點(diǎn)。

本文導(dǎo)航

• 不屈不撓 用英語怎么說？
• 殘酷，英文怎么說？
• 請英語高手幫我點(diǎn)評(píng)我的這篇英語四級(jí)作文，非常感謝。
• inexorable是什么意思
• 鄧博弘的鄧博弘觀點(diǎn)

不屈不撓 用英語怎么說？

never give up (絕不投降,絕不放棄)

殘酷，英文怎么說？

殘酷

1. cruelty

2. cruel

例句與用法:

1. 女兒的死對他們是一個(gè)殘酷的打擊。

The death of their daughter was a cruel blow.

2. 命運(yùn)有時(shí)是殘酷的。

Destiny is sometimes cruel.

3. 封建貴族對人民很殘酷。

The feudal barons were cruel to the people.

4. 那個(gè)皇帝是個(gè)殘酷的專制君主。

That emperor was a cruel despot.

5. 許多富商靠極其殘酷地踐踏別人而爬了上去。

Many a rich businessman reached the top by trampling on others in the most brutal way.

6. 他要他們加班工作, 真是殘酷。

He was cruel to make them work overtime.

7. 他的名字成了殘酷無情的別稱.

His name has becomea byword for cruelty.

請英語高手幫我點(diǎn)評(píng)我的這篇英語四級(jí)作文，非常感謝。

通篇文章讀下來，首先覺得你的語法知識(shí)很好。幾乎沒有一點(diǎn)兒錯(cuò)誤。同時(shí)條理清晰。觀點(diǎn)明確。其中用的比較出彩的地方是第二段“with”句的使用和第三段首句。伴隨狀語或目的狀語的使用讓人讀起來流暢，不像一些硬套上去的定語從句。

我不知道你是不是大一的，覺得這個(gè)跟我大一時(shí)差不多，寫作沒脫離高中時(shí)影子——缺乏地道流暢的表達(dá)，沒有能體現(xiàn)大學(xué)生英語在不斷學(xué)習(xí)充電的亮點(diǎn)。

1.詞匯問題。首先，考四級(jí)我們應(yīng)該會(huì)學(xué)會(huì)換掉垃圾詞匯、多用形容詞副詞。背四級(jí)單詞是必須的。比如最后一節(jié)，take some measures完全可以把some替換成some effective，使之更生動(dòng)。

2.沒有語法錯(cuò)誤但應(yīng)該改變的句子。首句換成will not be used up更好。第二段結(jié)尾換成...are not aware of更好。這些可以通過多閱讀，背好句子來改變。

3.句子過于單一化。定語可以用從句啊，不一定用分詞。被動(dòng)語態(tài)，各種從句多用用。

總之，我覺得你應(yīng)該是比較喜歡英語的，希望你能多多閱讀，多多積累。那些作文總結(jié)文檔可以看看。長難句最好在開頭結(jié)尾用用，增加亮點(diǎn)。據(jù)說四級(jí)作文只有17秒評(píng)卷時(shí)間。希望我的點(diǎn)評(píng)對你有用~

inexorable是什么意思

inexorable

英 [?n?eks?r?bl] 美 [?n??ks?r?b?l]

adj.

無情的，鐵面無私的; 不可動(dòng)搖的，不屈不撓的; 不能變更的; 不可阻擋的

雙語例句

1

Large-sized pressure vessel is inexorable trend of industrial development and scientific technology.

壓力容器大型化是工業(yè)經(jīng)濟(jì)發(fā)展和科學(xué)技術(shù)進(jìn)步的必然趨勢。

2

History is inexorable.

歷史是無情的。

鄧博弘的鄧博弘觀點(diǎn)

《北大商業(yè)評(píng)論》/ 201201 ，鄧博弘第一次就自己對產(chǎn)業(yè)的看法進(jìn)行了系統(tǒng)的公開演講，以創(chuàng)意產(chǎn)業(yè)民營企業(yè)經(jīng)營者的實(shí)踐經(jīng)驗(yàn)，首次拋出了中國文化創(chuàng)意產(chǎn)業(yè)發(fā)展的工業(yè)藝術(shù)化和藝術(shù)工業(yè)化的階段性發(fā)展理論；就中國文化創(chuàng)意產(chǎn)業(yè)大環(huán)境現(xiàn)狀對文化產(chǎn)業(yè)的本質(zhì)屬性進(jìn)行了客觀歸納。文化產(chǎn)品首先第一屬性是商品；第二屬性是工具；第三屬性是具有藝術(shù)性，這也是它與其他工業(yè)產(chǎn)品的最重要區(qū)別。PekingUniversityBusiness Review / January, 2012Deng Bohong made a systematic public speaking about his views on the industry for the first time, and brought forward stage development theory about industrial artistry and art industrialization in terms of Chinese cultural creative industry development, as well as gave an object summary about the essential nature of Chinese cultural creative industry.The first attribute of cultural products is being commodity, and the second attribute is being tool, while the third attribute is being art, which is the most important difference when compared with other industrial products.《新經(jīng)濟(jì)導(dǎo)刊》/ 201206 ，鄧博弘與陳少峰（北大文化產(chǎn)業(yè)研究院副院長）、賈偉（洛可可設(shè)計(jì)集團(tuán)創(chuàng)始人）等人就“文化創(chuàng)意辯證法”的主題，從解析中國文化創(chuàng)意產(chǎn)業(yè)的“熱與冷”、“小與大”、“善與惡”、“表與本”展開了一場探討博論。在這次研討中，鄧博弘更進(jìn)一步深入的表達(dá)了對行業(yè)的解讀。New Economy Weekly June, 2012Deng Bohong talked with Chen Shaofeng( associate director of Peking University Cultural Industry Institute) and Jia Wei(founder of Rococo Design Group) about the theme of “cultural creativity dialectic”, and had a discussion in terms of the “Hot and Cold”, “Little and Huge”, “Good and Evil”, “Superficial and Essential” things of Chinese cultural creative industry. In the seminar, Deng Bohong made a profound interpretation about the industry.--- “熱與冷”。市場經(jīng)濟(jì)離不開法治社會(huì)和民主政治，解決社會(huì)環(huán)境的問題，是所有行業(yè)包括文化創(chuàng)意產(chǎn)業(yè)的發(fā)展之道。如果都以GDP為主導(dǎo)，以功利和短期效益為主導(dǎo)，以表象為主導(dǎo)，許多推動(dòng)文化創(chuàng)意產(chǎn)業(yè)發(fā)展的方法并不成立。國家的政策導(dǎo)向不能頭痛醫(yī)頭，腳痛醫(yī)腳，直接撥錢、批地和建產(chǎn)業(yè)園，而應(yīng)該通過政策法律去樹立正確的價(jià)值觀，形成良好的產(chǎn)業(yè)環(huán)境和發(fā)展機(jī)制。Hot and Cold: Social market economy can not work without the rule of law and democracy, and to solve social environment problems is the development way for all industries including cultural creative industry. If GDP, utilitarian and short-term benefits or superficial phenomenon dominate everything, various ways to promote the development of cultural creative industry would get nowhere. As for the national policy, just specific and limited measures such as dial fund directly or grant land to build industrial park can just have little effects, thus the most important thing is to establish correct values and form good industrial environment and development mechanism through policies and regulations.--- “小與大”。毫無疑問，文化創(chuàng)意產(chǎn)業(yè)是典型的新經(jīng)濟(jì)，沒有倉儲(chǔ)、運(yùn)輸，幾乎沒有原材料，但文化創(chuàng)意產(chǎn)品的溢價(jià)空間卻很大。巴爾扎克的手稿價(jià)值不可估量，可他使用的紙張和墨水才花了多少錢？文化創(chuàng)意產(chǎn)業(yè)不是靠產(chǎn)量和成本取勝的。2009年，全國電影人在歡呼，中國整個(gè)電影票房突破了百億元，同年美國有一部電影叫《阿凡達(dá)》，全球票房27億美元。這是多大的差距??！還有更多的例子，10萬個(gè)普通玻璃杯也抵不上一件汝窯的青花瓷；內(nèi)容差的書再多也無濟(jì)于事，一本好書經(jīng)久不衰，好比四大名著。Little and Big: Undoubtedly, cultural creative industry belongs to typical new economy, with no warehousing, transportation, and almost no raw materials, but the cultural creativity products have great premium space. Balzac manuscripts are invaluable now, but how much the paper and ink he used cost?Cultural creative industry does not depend on output or cost. In 2009, all film makers inChinacheering since the total value of Chinese film box exceeded 10 billion Yuan, and American movie Avatar made a global box office record of $ 2.7 billion at the same year. How much the gap is! There are many more examples like 100,000 ordinary glasses are not worth blue-and-white porcelain from Ru Yao.--- “善與惡”。我近乎矯情地對專業(yè)的堅(jiān)持，無形中就會(huì)對短期功利的、浮躁的甚至虛假的行業(yè)和社會(huì)現(xiàn)象進(jìn)行一種正面沖擊。我沒有能力讓整個(gè)行業(yè)發(fā)生質(zhì)變，但如果有許多企業(yè)都去努力，量變也會(huì)質(zhì)變。學(xué)者、藝術(shù)家，越老越值錢，因?yàn)檫@是一生的積累和沉淀。但我們看看現(xiàn)實(shí)中的從業(yè)者，有多少人認(rèn)定這份工作是他的終生職業(yè)？”這種社會(huì)心態(tài)是不正常的，但又不是短時(shí)間可以改變的，除了價(jià)值觀的扭曲，還有歷史的因素。未來的社會(huì)是一個(gè)專業(yè)細(xì)分的社會(huì)，要把專業(yè)做到極致才行。但現(xiàn)實(shí)卻是忽悠炒作盛行，違法違紀(jì)、失去誠信的成本極低，這就導(dǎo)致一種價(jià)值觀的誤導(dǎo)。Good and Evil: My almost hypocritical insist on profession would often potentially expose a positive impact on short-term utilitarian, impetuous and even false trades and social phenomena. I simply do not have the power to make a qualitative change in the industry, but if many companies join to work hard, I believe that someday quantitative change would develop into qualitative change. The older scholars and artists became the more valuable they are, because they have a lifetime of accumulation and precipitation. But look at the reality, how many people regard the job as their lifelong career?” It is an abnormal social mentality, which can not be changed in a short-term since it stems from both distortion of values and historical factors. The society in the future will be a professional and fine sorted one, so we should make everything in our professional career perfect. However, in reality, speculation and cheat prevail and the cost of law-breaking being low, all of this leads to a misguided value。--- “表與本”。鄧博弘表示，文化創(chuàng)意產(chǎn)業(yè)具備三種屬性，第一屬性是商品，無論電影還是廣告，都要賣錢；第二屬性是工具，廣告和短片都要給客戶使用，從而創(chuàng)造更大的經(jīng)濟(jì)效益；第三點(diǎn)很關(guān)鍵，是通過藝術(shù)性來達(dá)到商品的最大價(jià)值和體現(xiàn)工具的功能，比如最明顯的是建筑設(shè)計(jì)、室內(nèi)設(shè)計(jì)等商業(yè)美術(shù)。從業(yè)者就要想辦法把工業(yè)產(chǎn)品藝術(shù)化，藝術(shù)需要靈感，具有隨機(jī)性，怎么辦？這就需要把藝術(shù)產(chǎn)品工業(yè)化。典型的案例是美國的好萊塢，采用工業(yè)化手段生產(chǎn)了大量具有刺激性的風(fēng)靡全球的影片，這就誕生了一個(gè)名詞“創(chuàng)意機(jī)制”，機(jī)制也可以理解為土壤。Superficial and Essential: Deng Bohong said that the cultural and creative industry have three attributes , at first it is a commodity , whether movies or advertising films should make money ; secondly it is a tool, both advertising films and movies are made to serve customers and bring greater economic benefits to them ; the third point is critical, when it aims to achieve the maximum value of commodity and tool functions by way of art , such as architectural design, interior design, commercial art field and so on. Practitioners in the industry should find ways to make industrial products an art, but art is random and needs inspiration, how to do? The answer lies in the industrialization of artistic products. A typical case is the Hollywood inAmerica, which produced a large number of irritating films that swept the world through industrialized ways, thus a new noun “creative mechanisms” emerges, and the mechanism here can also be understood as the soil.繼而，鄧博弘進(jìn)一步指出，中國有個(gè)哲學(xué)概念“舍得”，有舍才有得。你要實(shí)現(xiàn)一個(gè)產(chǎn)品的商業(yè)價(jià)值和工具功能，首先要拋棄這兩點(diǎn)，把它藝術(shù)化，藝術(shù)化以后再尋求前兩者。所以文化創(chuàng)意產(chǎn)業(yè)不像其他產(chǎn)業(yè)靠投錢就能解決問題，它真正需要的是土壤。這種土壤讓很多藝術(shù)家可以吃飽肚子，很多商業(yè)領(lǐng)域的人才愿意從事這樣的工作，很多生產(chǎn)領(lǐng)域的人才愿意把誕生的藝術(shù)性東西轉(zhuǎn)化為工業(yè)化生產(chǎn)，這是一個(gè)分工有序的產(chǎn)業(yè)鏈條。Then, Deng Bohong further pointed out thatChinahas a philosophical concept of “She De”, which means you should give at first and then you gain. In order to realize the commercial value and tool function of a product, you should set them aside at first, and process it in artistic ways, finally seek to reach the first goal. Therefore, unlike other industries, solving problems in cultural and creative industries can not rely on investment money, what it truly needs is Soil. Only the Soil can guarantee a decent and rather rich life for artists, business talents would like to take such jobs, and talents in production area would willing to turn artistic items into industrialized products, and this is a part of the orderly industrial chain.鄧博弘強(qiáng)調(diào)，文化創(chuàng)意產(chǎn)業(yè)針對的是人們的感性心態(tài)——美感和快感。戰(zhàn)亂貧窮時(shí)代，大米和白面值錢；和平年代，經(jīng)濟(jì)發(fā)展以后，奢侈品、文化藝術(shù)品、收藏品開始變得值錢。當(dāng)社會(huì)再進(jìn)步時(shí)，娛樂最值錢，娛樂是人的本性。Deng Bohong stressed that cultural creative industry aims at the emotional state of mind——sense of beauty and pleasure. At the time of war and poverty, rice and flour worth a lot; at peace time, when the economy develop, luxury and collection became valuable. When the society progresses further, the most valuable thing would be entertainment, since it is part of human nature.“這并不是主張社會(huì)娛樂化，也不是所謂的‘三俗’和八卦，而是人們解決了基本的生存需求和具有了安全感以后，人們會(huì)為自己所獲得的愉悅和美感付重金買單。娛樂是一種泛指的文化創(chuàng)意服務(wù)，譬如旅游、收藏、玩極限運(yùn)動(dòng)、唱京劇、看歌劇等。只要人們的興趣得到最大的抒發(fā)，滿足了個(gè)性和愛好的取向，這就是最大的娛樂?！S金周’到哪里都爆滿，這反映了人們的一種娛樂取向?！编嚥┖虢忉尩馈！癟his is not an advocate of social entertainment , nor is the so-called ‘three vulgar thing’, what I am saying is that people would like to pay a lot for their gained pleasure and enjoyment when satisfying the basic survival needs and have a sense of security. Entertainment generally refers to a kind of cultural creative service, such as travelling, collecting art items, playing extreme sports, singing Peking Opera, watching opera and so on. As long as people enjoy their interests to the fullest, and satisfy their needs of personality and hobbies, that can be described as the best entertainment. Every place crows people in Golden Week, and this also reflects a kind of entertainment orientation.” Deng Bohong explained.《中國文化報(bào)》/ 20100714，鄧博弘針對國內(nèi)行業(yè)的低端化發(fā)展提出了類終身職業(yè)的感言。如果一個(gè)行業(yè)只能讓從業(yè)人員在淺顯、粗糙的體力勞動(dòng)中日復(fù)一日地消耗職業(yè)壽命，而找不到向上的動(dòng)力，那么，這個(gè)行業(yè)也無法發(fā)展壯大?！皼]有一顆顆大樹，也就沒有一片森林。”Chinese culture reported July 14, 2010Deng Bohong put forward lifelong-career-like views about the low-end development of the domestic industries.If people in an industry can only consume career life in simple and rough labor work day after day without any motivation to go up, then the industry can never develop. As the saying goes, “without trees, without forest”.《南方人物周刊》/ 201302傳奇往往只是傳播效應(yīng)的結(jié)果，傳奇的創(chuàng)造者都明白一個(gè)簡單明晰的道理：“我的生產(chǎn)能力和精力是有限的，中國人不缺乏創(chuàng)意能力，但是中國的執(zhí)行太爛了，因?yàn)閳?zhí)行是需要付出巨大的精力、時(shí)間和代價(jià)的，市場給予你的需求，絕對不是你成功的信號(hào)！”“烏龜和兔子賽跑，再跑100次，還是烏龜贏?？淇淦湔?wù)l都會(huì)，但真的沉下心來頂住很多壓力、放棄很多誘惑，不容易。今天我一點(diǎn)頭，可能就是一輛奔馳，再一點(diǎn)頭，就是一棟豪宅。我可以點(diǎn)頭，我可以給自己100個(gè)理由：沒事，咱們最近加加班，把這活兒接了。但你只要點(diǎn)了這個(gè)頭，你就不再是享受工作，而是工作的奴隸。什么戛納、奧斯卡，統(tǒng)統(tǒng)扯淡了。烏龜雖然慢，但很踏實(shí)，而且走的是直線，不為外物所動(dòng)，一個(gè)一個(gè)去實(shí)現(xiàn)自己的目標(biāo)。目標(biāo)不單指金錢和企業(yè)的規(guī)模，完成人生的蛻變也是目標(biāo)。要淡定、坦然和充實(shí)。”Southern People Weekly February, 2012 More often than not, legends are just the result of propagation, and all the creators of legend understand a simple and clear truth: My production capacity and energy is limited, and we Chinese people do not lack of creativity, but we are short of executive ability, since execution demands huge effort, time and cost. The demand that market grants you is definitely a sign of your success!”《環(huán)球財(cái)經(jīng)》/ 201205，封面文章“文化振興中國夢”，鄧博弘以創(chuàng)意產(chǎn)業(yè)民營公司價(jià)值DNA為題，通過對“創(chuàng)意的認(rèn)識(shí)”、“產(chǎn)業(yè)審視”以及“氛圍判斷”參與研討。Global Business & Finance May, 2012In the cover story of Culture Activate The Dream of China, Deng Bohong talked about the value of private companies in creativity industry, and discussed from three aspects of “knowledge about the creativity”, ”industrial overview”, and “environment judge”.--- 創(chuàng)意的認(rèn)識(shí)。《環(huán)球財(cái)經(jīng)》：對于文化創(chuàng)意產(chǎn)業(yè)，從產(chǎn)業(yè)的角度來講您是怎么認(rèn)識(shí)的？鄧博弘：他肯定是一個(gè)產(chǎn)業(yè)，而且可能是一個(gè)終極產(chǎn)業(yè)。當(dāng)社會(huì)變得穩(wěn)定變得富足之后，人們才會(huì)真正尋找自己內(nèi)心的需求，文化、藝術(shù)相應(yīng)的東西開始之前。從中國的歷史和現(xiàn)代世界的普遍規(guī)律看，強(qiáng)大的物質(zhì)文明崛起之后，一定伴隨的是強(qiáng)大的精神文明崛起。文化產(chǎn)品需要具有設(shè)計(jì)感具有藝術(shù)價(jià)值，在這之后其實(shí)就會(huì)踏入一個(gè)全民娛樂時(shí)代。The Cultural Creative IndustryGlobal Business & Finance: Talking about the cultural creative industry, what’s your view from the industrial aspect?Deng Bohong: First, it is an industry, and may be an ultimate industry. When the society becomes stable and rich, people will truly seeking for their inner needs, and then things related to culture and art would boom. From the history ofChinaand the universal law of the modern world, powerful material civilization would always accompany with powerful spiritual civilization. Cultural products need to have sense of design and artistic values, and the society will actually step into a national entertainment era afterwards.--- 產(chǎn)業(yè)審視?！董h(huán)球財(cái)經(jīng)》：當(dāng)創(chuàng)意遇到產(chǎn)業(yè)，所有的想法必須落地，必須把產(chǎn)品做出來才能掙到錢，您覺得中國現(xiàn)在的土壤和機(jī)制怎樣？鄧博弘：中國人并不缺創(chuàng)意，我們靈魂里并不缺乏創(chuàng)意與文化的優(yōu)良的種子，但是現(xiàn)在顯得比較貧瘠是因?yàn)槲覀兊耐寥廊孕枥^續(xù)改良，真正好的土壤需要用比較長的時(shí)間去培育?，F(xiàn)在中國跟國外的區(qū)別絕對不是文化底蘊(yùn)不同，而是因?yàn)榻?jīng)濟(jì)發(fā)展的成熟度不同，因?yàn)槲幕瘎?chuàng)意產(chǎn)業(yè)和發(fā)展的節(jié)奏是非常有關(guān)系的。需求決定市場，需求是在不斷的進(jìn)化和演變的，而這種需求和演變又和經(jīng)濟(jì)發(fā)展有著很大的關(guān)系。再次，從技巧上，也是一個(gè)發(fā)展的必然規(guī)律。今天的文化創(chuàng)意產(chǎn)業(yè)，不再是我們傳承的文化，他是有一些新的概念。市場化是以前沒有體現(xiàn)，同時(shí)沒有工業(yè)化就沒有產(chǎn)業(yè)。這些元素都和我們以前對文化的理解不同，所以產(chǎn)品和結(jié)果也會(huì)有區(qū)別。Industry Overview Global Business & Finance: When the creativity encounter industry, all ideas must act in practice, and you can only make money by producing actual products, so what do you think about the current mechanism and surrounding inChina?Deng Bohong : Chinese people never lack of creative ideas, and we never short of the good seed of cultural creativity, the problem actually lies in the poor soil . We need to keep improving the soil condition, and fertile soil demands long-term nurturing. Currently, the difference betweenChinaand western countries lies absolutely not only in culture, but also in level of economic development, because the development of cultural creative industry relates closely to the rhythm of market.Demands determine market, while the demand is in constant change and evolution, and the changing demands strongly link to economic development. In addition, technically it is also an inexorable law of development. Today’s cultural and creative industry is more than cultural heritage, it has some new concepts. In a word, there is no industry without industrialization. And all of these elements are different from our previous understanding about culture, so the products and result would be different.--- 氛圍判斷。《環(huán)球財(cái)經(jīng)》：目前中國已成為全球第二經(jīng)濟(jì)大國，這是否意味著中國的文化創(chuàng)意產(chǎn)業(yè)將獲得崛起的環(huán)境呢？鄧博弘：我們在經(jīng)濟(jì)上用了30年完成了歐洲大概400年歷程，但文化的進(jìn)步速度肯定不會(huì)像經(jīng)濟(jì)那樣快。因此中國富裕群體的文化消費(fèi)能力已經(jīng)達(dá)到發(fā)達(dá)國家的水平，但更多地是在消費(fèi)LOGO，屬于一種面子消費(fèi)。全民的價(jià)值觀的問題需要幾代人來完成，尤其是文化意識(shí)的培養(yǎng)和延伸是需要一代一代傳承并發(fā)揚(yáng)光大。ProgressGlobal Business & Finance: At present,Chinahas become the world’s second largest economy entity, so does this mean that cultural creative industry inChinawill have an environment for rising?Deng Bohong: We spent 30 years to complete an economic task that achieved by European countries for about 400 years, but the progress rate of culture certainly can not as fast as the economy . Now, the cultural consumption capacity of rich people inChinahas reached the level of developed countries, but they still prefer to consume LOGO. The problem of universal values demands efforts of different generations, especially the cultivation and extension of cultural awareness need to pass from generation to generation and then flourish.《財(cái)富堂》/ 201007人們會(huì)從關(guān)心碗里有沒有肉，變成去欣賞端在手里的碗是不是青花瓷、到底是哪個(gè)窯燒出來的，這個(gè)進(jìn)度是需要一個(gè)過程。保持淡定、耐心等待，這是一個(gè)鐵定的規(guī)律。FortuneTown July, 2010People would someday change from a state in which only caring about the meat in the bowl to a situation in which appreciating the bowl itself, but this demands a long process. Keep calm and be patient, it is always a golden rule.