I've always been interested in fractured, demented, asymmetrical, incongruous textures, and indeed what I call “dysprosody” – the prosody of distressed sounds.
我一直感兴趣是诗歌
破碎、错
、
称、
和
构,也就是我说
言语声律障碍,即运用破损声音
作诗法。
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Also, we have repetitive prosody now coming in, where every sentence ends as if it were a question when it's actually not a question, it's a statement?
然后是韵律。我喜欢韵律。 那是唱歌,是元语⾔, 我们⽤传送意味。 在谈话中是意思的根基。 那种说话⼀
声调的⼈ 很难让⼈听讲, 如果他们没有⼀点⼉韵律。 那就是单调这
词的
源, 或者说枯燥⽆味,⼀成不变。 我们还有重复性的韵律, 每
句⼦的结尾好像是⼀
疑问句, 但事实上,它不是疑问句,⽽是陈述句。
Orthography, etymology, syntax, and prosody, biography, astronomy, geography, and general cosmography, the sciences of compound proportion, algebra, land-surveying and levelling, vocal music, and drawing from models, were all at the ends of his ten chilled fingers.
正字法、词源、句法和韵律、传记、天文
、地理
和宇宙
、复合比例科
、代数、土地测量和整平、声乐和模型绘图,都在他的十年末手指。