embody怎么调?embody是什么意思啊

embody怎么调?

Embody的简单快捷操控

1.

扶手升降调节:这个按钮,非常方便容易操作。并且同时向两边发力,就可以调节宽度。这里要说明一下,扶手在调节到最靠近身体的时候,会有一种把自己固定在里面的感觉,即便是身材娇小的女生,也可以自己调节出最适合自己的,这里体现了大品牌的细节感和设计感。

2.

根据自身腿部的长度可以调节坐垫的进深:向上抬起,进行拉伸。实际操作发现坐垫不是很好好拉,其实这是为了稳定,一旦调节好了,坐垫也就不会因为人的移动而位移、松动。

3.

调节后仰倾角:椅子的左侧坐垫后方有一个黑色的拨片,坐在椅子不用转身回头寻找上这个拨片就是起到用来调节椅背后仰支撑力度作用的。如果快速拨动，到最上方，椅背靠上去反馈力度会比较小，如果调整到中间，靠上去以后椅背会有种缓缓下沉的感觉，但是又不至于让你“塌陷”在座位上。既提供了支撑，又可能让你在不离开椅子的同时略微放松。调整到最下方，只要微微发力，椅背会带着你慢慢下降到一定的高度，然后会感觉到好像被椅子包裹住了的感觉。这种使用感对比其他人体工学椅，就是直上直下，直来直去。要么就很没有安全感的直接向后倒，要么就是可调节的角度太少。这个功能，从体验上来说，应该就是整把椅子设计的精髓所在（也可以理解成最值钱的地方。也就是这里，就可以体会到所谓“人体工学”的玄妙）。

embody是什么意思啊

vt.使具体化；是…的典范；收录；包含；包括；赋予…以形体；使肉体化；
辅助记忆
1. 搭配词
quality / hopes / ideas / principle / features / strategy / policy / spirit / entity
2. 形近词
embodies / embodying / embodied
例句
1. forest animals believed to embody ancestral human spirits
被视为人类祖先精神化身的森林动物

下面分享相关内容的知识扩展：

embodied in在文章中的作用

•1.be embodied in 体现在...
be embodied in the mysterious migrations of the birds 体现在鸟类神秘的迁徙...
•2.be evidenced by体现在：be evidenced by...为…做好准备：brace oneself for
•3.lie inthen 表示和上面一个句子的一种承接关系...lie in 表现在，体现在...整句意思是：文字的力量，（由上句话可知）主要在于它们之间的联系。
•4.embody更佳答案...体现在 embody...eg.体现在产品上的先进技术转移:

西昊Doro S300可以平替赫曼米勒Embody吗？

实话实说，赫曼米勒Embody坐起来真的舒服，各方面体验都很顶，但是价格方面，真的和我们这些普通码字的打工人没什么关系，一万大几，鹤岗半套房。再说西昊Doro?S300，总体舒适度也非常高，作为国产品牌的人体工学椅已经非常出色了。
航空玻纤弹片，浮翼腰托，6D扶手都是不弱于赫曼米勒Embody的黑科技设计。西昊Doro?S300的底盘弹力特别好，起身不费劲，后靠很轻松。而且椅子的坐垫材质选用了轻云网布，柔软有弹性就像坐在沙发上！而且，西昊S300的头枕、腰枕、椅背、扶手、坐垫均可调节，能适配不同身高体形人群。
在腰枕上西昊Doro-S300具有蝶翼的造型，因为支撑面更大，解决了之前只有腰被顶起，而腰部以下空落落的感觉，坐上去很有包裹感。我比较喜欢105度的后仰托腰模式，后仰支撑很舒服，办公过程中身体也更能放松。
在这个价位，西昊Doro?S300各方面细节做得都很到位，还可以缓解我因为伏案工作导致的腰酸背痛的症状。

“I make it, I know who I am” —“女神 (Goddess)”by Joyce Cheng

Last summer when the “Goddess” by Joyce was first heard, I just thought highly of its beautiful melody and perceived a little *** ell of femini *** from lyrics. The class and readings make me gradually sensitive to gender-related topics, and this music video of the song, which I came across again, was recommended by Louisa on her WeChat. In this essay, I would *** yze the video in two perspectives: One applies Stereotypes and Beauty Myth to discern the stereotyped female images in Chinese society in order to get out of the Beauty Myth trap; One uses Visual Pleasure and Feminist Counter-Cinema to demonstrate how to refuse male gaze.

All characters are females in the music video, while it can see that they are divided into 2 groups according to the manmade definition of “Beauty”. One group of 3 ladies at the very beginning ( 00:00:07, Fig. 1 ) are in conformity with the mainstream aesthetic criteria, however, others whose looks are judged too far away from the criteria would leave some undesirable impressions on the public, then the deeply-rooted stereotypes gradually produce. Below are some typical stereotypes the characters emerge in this music video, I suppose, that’s why Joyce invited them to participate in the performance where they are likely to be treated  the  same way as in their daily life.

In the Chinese society, the woman who has tattoos and wears ear stretching plugs are so unique that she is likely to be considered as an extremely rebellious “Bad girl” flouting conventional moral standards. She just cares about herself and does whatever she wants regardless of the consequences, ignoring others’ “well-meaning” suggestions of behaving like a“normal girl”. Such a stereotype of these kinds of females is likely to be called “bad girls”. They would be isolated by others because they are dangerous in others’ mind. They have bad love affairs and bad family issues and also bad social relationship. They deem to lead a reduced life without any opportunities and chances to enjoy happiness.

The director gives the “bad girl” a close shot in the music video, so that it is apparently showed that her expressions are full of lackluster, gauntness and helplessness. The camera shoots the scene when she raises her arms heavily tattooed (that is named “花臂” in Chinese, which means the woman may be involved in gangsterdom, in some conventional mind) and confusedly scaring at them. (00:01:58, Fig. 2)

In effect, the masculine girl is represented in a close camera viewpoint, the first impression burst into my mind that “What a handsome boy!”. The girl  wear her black hair slicked up  and her clothing style seems to be identified with conventionally-defined men’s: Shirt matching with pants. When I realized that her gender might not be male, I cannot help myself with praising her “so cool and even more handsome than boys”. But yet, some people may discriminate her as “变态 (abnormal) and 不男不女 (not-male-not-female) etc.”. This happens in real life that one female Chinese singer star - 李宇春 (Li Yuchun), rising to fame due to winning the 2005 Super Girl Contest, a Chinese singing competition. I still remember many of the public insulted her for her neuter look and more masculine attitude, and even called her as “春哥 (BrotherChun)” on purpose then.

Unlike self-assured Brother Chun on camera, the girl always bows her head, and there is a feature when she looks at the camera,  the  facial expression with a frown reveals a preoccupied her. She stands away from the other females. The close-up shot differentiates her from the two vague women distant from her, featuring her loneliness. (00:01:00, Fig. 3)

It could be speculated that the woman uses gestures to express her emotion and opinions might be a dumb one. (00:00:56, Fig. 4) The society is not kind enough to the disabled, the pervasive example is that insulting languages involved in the disabled are always heard when curse “Normal” ones, like “脑残 (mentally-handicapped), 残废(the miscreated), etc.” When the unrecognized feature comes into the female, the situation would become worse, especially a disabled plump woman. The close shot tells us that this kind of women are urgent to voice while they are unable to do it with a limited number and influence of platforms. The director avoids using the close-up shot to put too much press on her, since she expresses her soreness and hopeless.

In the first half, the two elderly women are quite hard to notice, they are shot in caliginous light and seem obscure, totally blending into the background. (00:01:00, Fig. 3) Here, Guerilla Girls’ statements about stereotype of elderly females should be mentioned that “our (Caucasian) culture turns aging women into evil shrews instead of venerating them as wise women as in Africa, China, …”. (35) In my opinion, that’s not completely true. Although Chinese respect aged ladies more, there still exists many scrannel Chinese terms to point to them, such as “老太婆(old woman in Mandarin)”, “老太婆娘 (old woman in Wenzhouness)”. The patriarchal thoughts hiding in Chinese aresimilar with the Western that aging gradually undermines women’s value andelderly females’ voice are easily neglected in real life, particularly in ruralareas. (Guerilla Girls, 35)

However, the stereotypes of the females can be their true self?

At the start of the music video (00:00:07, Fig. 1), the three women wear the gossamer clothing like goddess, accompanying the title of the song - “女神Goddess”. Theirslim and tall figures, full breasts and  the booty  meet the rigid and traditional aesthetic criteria, this could be watched in the MissHong Kong Contest. (00:00:00-00:00:11, Fig. 1) In many people’s eyes, they are considered“beautiful, glorious and graceful”, and other girlsfeel unconfident and depressed when encountering them, while they are stilljust close to the perfection but not the perfect. In fact, there is nothingabsolutely perfect in the world. As Wolf said, females are forced unconsciouslyto insist to throw themselves into reaching the standards designed not bythemselves but by “market forces and a multibillion-dollar advertisingindustry”, which cannot be achieved actually, and celebrities are also noexception. (2) Joyce take a close-up shot to expose their faces and bodies in moredetailed, even though the three models are within the acceptable name list,while their looking are different from each other and how to tell who is themost beautiful is very difficult. And the shot also describes the deep and realemotions behind the colorful and bright in-front-of-the-scenes images when theystart to look at, stay with and talk to themselves deeply, they feelpainstaking and one puts her head in hands, one cries silently, and one bendsher head. (00:01:41-00:01:42, Fig. 5)

Joyce participates in the performance acting as the helper to assist the females who getting trapped in the male-dominant aesthetic standards. I suppose, Joyce’s experiences are known by many audience loving Hong Kong’s entrainments. She get through the hard time when she cannot acceptherself influenced by the conventionalized concept of Beauty - “Being slim i *** eauty, being fat is ugliness!”. She tried her best to lose her weight, and succeed in endorsing the weight-loss products of Sau San Tong Holdings Limitedin 2003. (Wikipedia.org) However, her weight reboundvery soon and finally she failed to continue serving as the spokeswoman. Beingfat is always discriminated by the public which are guided by the industriesand the markets. Joyce herself is the distinct instance of being made use of. Afterthat, Joyce started to rethink herself. At present, we could see she hasresurrected and treated herself with confidence and talent gradually. Her songs-“ 无人完美 (Nobody’s perfect)”（2011），“ 你瘦够了吗 ？ (Are You Skinny Enough?)” (2016) as well as this “ 女神 Goddess”（2016）witness Joyce growing into a uniquely charming feminist .(Wikipedia.org)

When Joyce appears in the screen, she is far away from the audience. The full shot shows the relationship between her and the surroundings where she is situated. She is quite insignificant, which might project the past mental state of herself, facing the flooding critici *** s from the public because of her figure, her family background-being the daughter of stars seems to be “easy to be famous almost without a need to work hard. However, she is not afraid to evade but yet determinedly move forward and her image is becoming increasingly clear and then the close shot lets the audience see the adamancy, stubbornness and determination on her face that she does not want to surrender to the reality and the unreasonable tags.

Mulvey  pointed out that “woman as image, man as bearer of the look” in traditional narrativecinema, (11) that is, the male audience are effortless to embody themselvesinto the male characters who can control the development of the plot andwithout any doubts get hold of the females to be watched. ( Smelik,  491-2) The “voyeuristic-scopophilic gaze and narcissistic identification”produce the visual pleasure especially for males. (Mulvey, 8-9; Smelik, 491-2) Itis not hard to find that all characters in the music video are females andthere are even no half of one male, why male gaze should be mentioned here?

The screen of the standing female models isconstructed on the stage which looks like a contesting stage for Hong Kong Misses Contest. In my mind, the beauty contest is one of the productions of patriarchy where commentators are constituted of males sometimes some females who are trained by the dogma designed by males. The intro music accompanies the theme song of The Miss Hong Kong Pageant make me further confirm it is on scene exposed to the audience in a male gaze awaiting males to judge who is beautiful and who is unable to be face directly. There is no doubt that the three models belong to the definition of “Beauty” in the male gaze and they show “the beautiful poses” which males think as “beautiful”-they are not themselves. When the shot turned to the “ugly” females, including girls with ear gauges and tattoos, old ladies, physically-defective female, Tomboy, etc.,all of them feel confused, helpless, frustrated and painful and take actions like lowering head, cocking head to the side, etc., preventing them from having direct eye contacts with the shot. Therefore, the male gaze produces not only the distances of the females among the stereotyped group-for instance, Tomboy stands far away from others, but also the “ugly” ones and the three models-they do not show up in one shot before Joyce’s coming.

So, there does not exist female gaze? No. Joyce invited all the female characters but no males,which is an action to counter traditional films. Compared with somemale-directed music video like Patty Berry - “Part  of Me”, the plot should be the actress behave bravely or strongly after she is betrayed by a male or something like this. Although the male is described stupid, he is still vital in the female’s life. In this video, without males, there would not exist that males drive and manipulate the process and the  evolvement of the story , that means they would lose the hold of the females, which gives females more freedom and rooms to change their fate and state status and choose who they want to be, while the males are only the passive audience unable to do nothing except for watching. In this music video, Joyce herself becomes into the central actress to help to break the plight and challenge the rigid rules. This arrangement is suitable since Joyce is the one girl who achieves to be the real herself not others. And the advent of Joyce with a box of  DIY  materials which is given a close-up shot, foreseeing a huge change would be forthcoming. (00:01:17, Fig. 6)

From my view of point, all through the music video,the shot is taken almost exactly at eye level, no any low-angle shots and bird's-eye views. This shooting technics is taken by the director just to express that all females should be treated equally and respected no matter how their bodies and faces look, no matter how old they are, whether they are physically sound or not. Especially from the gaze of males, the pro-patriarchy male audience have little opportunities to look down upon the females who break the beauty myth. And another technique Joyce uses is that the color of the whole video is set in black and white. The photo of the actresses on scene, I saw, shows so colorful clothing they wear that someone attracts the audience’s attention immediately, while others are eclipsed. (mingpao.com, Fig. 7 &Fig. 8) On the other hand, the  white and black imagery  brings a  solemn atmosphere  and feeling, driving the viewers to contemplate how they behave in daily life when females being judged or whether they always criticize females with bias and stereotypes.

After Joyce ends the song with the lyric “人类看不起  都好看 (Even though humans look down on me, I’m always beautiful.)”, a summary sentence of the song, she turns back gracefully and walks forward without any hesitation disappearing from the screen. This could be another example using Bertolt Brecht’s notion of “Distanciation” in response to feminist counter-cinema, (Smelik, 492) and “freeing the look of the audience into dialectics and passionate detachment”. (Mulvey, 26) As beforementioned is *** yzed, although males are passive watchers, they are gazing the actresses on stage through the screen. Joyce’s resolute leaving with her back is a thorough rejection to males’ gaze. And her *** ile seems to declare that “I’ve already know I am myself and I’m ready to lead my own life!” (00:04:01-00:04:14, Fig. 9 & Fig. 10)

Joyce’s self-directed-and-acted music video can be regarded as “feminist”. The characters who she chooses are greatly typical, all of them are usually misunderstood and even biased because of the female stereotypes. Joyce takes the video into two parts, and represents the appearance of herself as a watershed. In the first part, the close shot exposes in detail the negative expressions of females deemed “unbeautiful” in patriarchal recognition to the audience (the public), particularly males, while the three models conforming to the aesthetic standards just act in the “normal” way; however, Joyce takes “distanciation” technics, intervening to totally change the atmosphere and relationship among them: the models finally cannot control themselves to release the pressure of the endless pursuit of beauty myth, however, male gaze here is so passive that only watching the changes happen. Joyce also shoots the scene of girl-kisses-girl, girl-kisses-masculine-girl and leave-with-her-back to challenge the conventional patriarchal relationships. All through the music, Joyce utilizes the camera at eye level and black-and-white shot, emphasizing the equal treatment on all females, the three models included, asserting that “be self-confident is the most beautiful!”

1.Mulvey , Laura. “Visual Pleasure and Narrative Cinema.” Screen (Oxford Journals) , vol. 16, no. 3, 1975, pp.6–18.

2.Smelik, Anneke . “Feminist Film Theory.” The Cinema Book. 3rded., editedby Pam Cook. BFI , London. 2007, pp. 491-504

3.Wolf, Naomi . “The Beauty Myth” The Beauty  Myth: How Images of Beauty Are Used Against Women.1991. Harper Perennial, 2002,pp. 1-19

4.Guerilla, Girls. Bitches,  Bimbos, and Ballbreakers: The Guerrilla Girls' Illustrated Guide to Female Stereotypes. Penguin Books, 2003, pp. 7-38

5.Bell, Hooks. Femini ***   is for everybody: passionate politics.South End Press, Cambridge. 2000, pp.vvii-12