Secluded meaning的問題包括PTT、Dcard、Mobile01，我們都能我們找到下列各種有用的問答集和懶人包 (2024)

Secluded meaning的問題，我們搜遍了碩博士論文和台灣出版的書籍，推薦Schmuhl, Elizabeth寫的Premonitions 和Hall, Sands的Flunk. Start.: Reclaiming My Decade Lost in Scientology都可以從中找到所需的評價。

另外網站SECLUDED - Translation in Arabic - bab.la也說明：Translation for 'secluded' in the free English-Arabic dictionary and many other Arabic translations.

這兩本書分別來自 和所出版。

國立臺中教育大學 美術學系碩士在職專班 黃嘉勝所指導邱淑惠的築夢踏實－腳踏車繪畫創作研究 （2021），提出Secluded meaning關鍵因素是什麼，來自於築夢踏實、腳踏車、繪畫創作。

而第二篇論文國立臺北藝術大學 美術學系碩(博)士班 吳繼濤所指導高安柏的山尋 （2021），提出因為有雲煙、登山、柏、魔變、迷山、山靈、石與變形的重點而找出了Secluded meaning的解答。

最後網站Secluded Meaning in Urdu is Tanha تنہا with 3 Definitions則補充：Secluded meaning in Urdu Tanha تنہا. Secluded has 3 different meanings, translation & definations. Also with Secluded sentences, similar words, Synonyms,...

Premonitions

為了解決Secluded meaning的問題，作者Schmuhl, Elizabeth 這樣論述：

Visceral and brimming with vitality, the poems in Premonitions reverberate with the voice of a woman on a secluded farm, confronting her emotional and physical isolation. Drawing on her own experience as a daughter of a third-generation fruit farmer, Elizabeth Schmuhl gives readers a fresh and power

ful perspective on what it means to be alive.Layering one upon another, the poems blur boundaries and create a volatile state out of which the remarkable and unexpected occur. Embracing chaos, change, and unpredictability, these poems are energetically charged and infused with succinct, imagistic la

nguage. They reach beyond the constraints assigned to the female form and examine a place where time, the body, sexuality, and the natural world are not fixed. At times surreal, at others painfully real, the poems in Premonitions are the expression of a human life that merges and melds with the worl

d around it, acting and reacting, loving and despairing, disintegrating and rebuilding. The speaker travels fluidly between strata of the natural world and her own body. Adding to the complexity of her poems, Schmuhl creates additional layers of meaning as the poems and their titles relate to the au

thor's synesthesia, a sensory phenomenon through which letters and numbers are experienced as colors and emotions.Premonitions will turn the reader inward, encouraging the examination of the small details of life and a growing acceptance of the perpetual turmoil and uncertainty of existence despite

our own desire to find a firm footing. This volume will be prized by lovers of contemporary poetry and literature alike.Elizabeth Schmuhl is a multidisciplinary artist whose work appears in Michigan Quarterly Review, The Rumpus, Paper Darts, PANK, Hobart, Pinwheel, and elsewhere. She has worked a

t various nonprofits, including the John F. Kennedy Center for Performing Arts, and currently works at the University of Michigan, Ann Arbor.

築夢踏實－腳踏車繪畫創作研究

為了解決Secluded meaning的問題，作者邱淑惠 這樣論述：

腳踏車在不同年代，承擔了不同的功能與角色。早期農業社會交通不便，耕種下田艱辛勞苦，腳踏車扮演了能負重、能騎乘的重要功能，形成人們對腳踏車依賴的特殊情感。就是這份對腳踏車的執愛情感，讓筆者過去的作品，經常出現腳踏車的身影，目前持續創新作品，並以腳踏車作為這次繪畫創作論述的主題。本研究目的有三項：(1) 關懷在地鄉土文化，探討台灣早期農村社會與當代社會腳踏車的水墨形式與記憶體驗，以詮釋東方人文美學及逐夢踏實精神內涵。(2) 研究以腳踏車進行繪畫創作的相關學理認知與思維文獻，「因心造境」從傳統與現代手法，形塑自我創作風格。(3) 探討在傳統與現代水墨中求得平衡，創作懷舊鄕情系列、休閒怡情系列、與逐

夢意象三大系列作品，並延伸嘗試新媒材與技法運用之可能性，一改以往獨鍾宣紙作畫後裱捲軸模式，大量使用膠彩、壓克力、複合媒材的交互運用，各取其優點佈局在畫作上。本研究歸納三大項研究結論：(1)媒材技法多元融合運用、(2)創作形式融合傳統及多種實驗技法呈現、及(3)創作思維不斷漸進領悟體會轉化。懷舊鄕情系列，以老房子刻劃了歲月痕跡的門窗、舊式的鐵馬、紅色的磚牆，代表懷舊的農村特色，把鄉土情懷氛圍融入創作形式的表現。休閒移情系列是以輕鬆活潑的筆調，取景台灣熱門景點、絢麗自然景觀、或清幽秘境為題材內容，表現騎腳踏車悠遊的心情，達到休閒怡情、運動健身的目的。築夢意象系列統整理念與技法移入情境構成，將外在的

物相，與自我內在心靈交融，達到表露內在情感。表現技法使用揉紙法、撞粉法、拓印法、撕貼法，以突顯畫面輕快節奏韻律感，反應騎腳踏車漫遊的愉快旅程。探索藝術之路漫無止境，筆者於此階段創作，體悟筆墨技法上仍有不足之處，作品呈現仍過於具象，希望在技法形式上，能由具象而漸抽象性，追求中國畫象外之「意」、言外之「情」，達到「不似之似」的藝術境界。筆者期能秉持對藝術創作的熱忱，虛心學習名家先賢的啟發，沉潛自我，突破框架，繼續超越自我軌跡，創作更精進的作品，開拓屬於個人符號的新風貌。

Flunk. Start.: Reclaiming My Decade Lost in Scientology

為了解決Secluded meaning的問題，作者Hall, Sands 這樣論述：

"I could not put down this book--it is a triumph, a work of great honesty and insight. It is a necessary book for our time." --Karen E. Bender, author of Refund In Flunk. Start., Sands Hall chronicles her slow yet willing absorption into the Church of Scientology. Her time in the Church, the 1980s,

includes the secretive illness and death of its founder, L. Ron Hubbard, and the ascension of David Miscavige. Hall compellingly reveals what drew her into the religion--what she found intriguing and useful--and how she came to confront its darker sides.As a young woman from a literary family strivi

ng to forge her own way as an artist, Hall ricochets between the worlds of Shakespeare, avant-garde theater, and soap opera, until her brilliant elder brother, playwright Oakley Hall III, falls from a bridge and suffers permanent brain damage. In the secluded canyons of Hollywood, she finds herself

increasingly drawn toward the certainty that Scientology appears to offer. In this candid and nuanced memoir, Hall recounts her spiritual and artistic journey with a visceral affection for language, delighting in the way words can create a shared world. However, as Hall begins to grasp how purposef

ully Hubbard has created the unique language of Scientology--in the process isolating and indoctrinating its practitioners--she confronts how language can also be used as a tool of authoritarianism. Hall is a captivating guide, and Flunk. Start. explores how she has found meaning and purpose within

that decade that for so long she thought of as lost; how she has faced the "flunk" represented by those years, and has embraced a way to "start" anew.SANDS HALL is the author of the novel Catching Heaven, a WILLA Award Finalist for Best Contemporary Fiction, and a Random House Reader’s Circle se

lection; and of a book of writing essays and exercises, Tools of the Writer’s Craft. She teaches at the Iowa Summer Writing Festival and at the Community of Writers at Squaw Valley, and is an Associate Teaching Professor at Franklin & Marshall College in Lancaster, Pennsylvania.

山尋

為了解決Secluded meaning的問題，作者高安柏 這樣論述：

玉山圓柏別名高山柏，隱世於安靜的崇嶺高巖上，其直徑每增加1公分，需要22.8年的時間。2017年的夏天，我翻越雪山主峰，走下雪山著名的碎石坡、冰河遺跡，抵達臺灣最高湖泊——翠池，映入在眼前的是一大片遙望無際的玉山圓柏喬木純林，在那裡的每一棵玉山圓柏，巨大到用雙手也無法環抱，是名副其實的「千年圓柏森林」。而對這古老的千年森林來說，我則只是一粒沙塵過客，途中彷佛穿越時空、經歷了千年，有如一趟超越自我生命界線的旅程，而我有幸在其中進行冥想。 山之所以迷人在於它的變化萬千，我愛山，也喜愛畫畫，所以我選擇親自進入到山林，並以水墨與山川萬物繫上連結，一切的起點來自於「山」對「我」的呼喚，最

終透過「山尋」開啟了我的水墨山水奇幻之旅，前往無限的探尋。全文從本人對兒時的自我探究，到自然萬物與山岳的嚮往，最後選擇以水墨創作蒐集自然，並以台灣山岳貫穿我的創作脈絡。 第一章「山喚」敘述了我對臺灣山岳的嚮往與登山的開端，第一節以莊子《逍遙遊》中，鯤變為鵬而飛向天池的神話故事，來比擬我在登山時的心境；第二節探索於山中神靈的現象；第三節以自身的登山經驗及所收集的山魅傳說，探討臺灣的山魅——魔神仔；第四節則記述了關於年幼時，幻想朋友的記憶。第二章「造境」在第一節討論寫生中的古典傳統與對自然的學習，並提出在室內以石頭寫景的方法；第二節則以中國美術史為開端，講述山水畫的歷史如何引領我在水墨創作的

前進；第三節以臺灣近代之藝術家，探討內在生命的山水造境；第四節則是介紹我所收藏之石頭與墨條，且提出兩者如何作為召喚「墨」的想像，並成為我水墨創作的起始。而第三章「山尋」取山中的煙雲與玉山圓柏做映照，解釋我的創作風格如何體現水墨文化與台灣土地交融而生的變異風景，並在第一節描述我對於結界儀式的想像，最後投射在我的創作中；第二節以森林與迷霧的交織及宋代畫家韓拙提出的闊遠、迷遠、幽遠來表現迷山之意象；而第三節則敘述了我以水墨登山的創作過程。最後在結語期許自己，透過山水畫之創作，持續找尋屬於我自己的山脈。