ghost story

音标发音

• 英式音标 [ˈɡəʊst ˌstɔː.ri]
• 美式音标 [ˈɡoʊst ˌstɔːr.i]
• 英式发音
• 美式发音

基本解释

• 鬼故事，神怪小说

同根派生

英汉例句

双语例句

• I say, "What kind of a ghost story?
  我问他们，“要讲什么样的鬼故事？”
• The ghost story frightened the pants off me.
  这个鬼故事把我吓得够呛。
• 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.
  我之所以会把目光转到阿伦·厄普沃德身上，原因在于他是100多年前的传奇/神秘/幽灵故事作家，而且正好一直没多少人关注。

原声例句

• It's the story of the old opera house and the ghost of the opera, right?
  这个故事讲的是一所老歌剧院和歌剧院的幽灵，对吧？
  歌剧魅影 - SpeakingMax英语口语达人

权威例句

• 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

词组短语

短语

• Ghost and Story 化物语
• Ghost Love Story 猛鬼爱情故事
• The -ghost-story 烈鬼蜮
• The Chinese Ghost Story 人鬼狐篇;倩女幽魂
• An American Ghost Story 恐怖亡灵

英英字典

剑桥英英字典

• a frightening story about ghosts and their activities

柯林斯英英字典

• A ghost story is a story about ghosts.

专业释义

文学

• 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.
  受现代主义及后现代主义的影响,莫里森运用了支离破碎的时空概念、跳跃的视角、模棱两可的文体及意识流和内心独白的叙事手法。 在支离破碎的时空概念中着重探讨了文本中的非线性的叙述和时间界限的模糊性,指出了这些技巧在主题揭示上的意义;跳跃的视角对《宠儿》的多重视角—零聚焦、外聚焦和内聚焦进行了分析,发现小说中的视角是经常变化甚至是重叠的;《宠儿》从文体上跨越了鬼故事和历史小说两种体裁;通过意识流和内心独白的叙事手法更深刻地揭露奴隶制对奴隶身心的重创。