grossing英文恶心

了不起的盖茨比 The Great Gatsby

gross根据词性不同有不同意思，词性及意思分别为：

1、adj.

总的;毛的;严重的;令人不快的;令人恶心的;使人厌恶的

2、adv.

总共;全部

3、v.

总收入为;总共赚得

4、n.

一罗(144个);(尤指影片的)毛收入，总收入

gross音标：英 [ɡrəʊs]，美 [ɡroʊs]。

第三人称单数： grosses ，复数： grosses ，现在分词： grossing， 过去式： grossed ，过去分词： grossed ，比较级： grosser， 最高级： grossest。

派生词： grossness n.

扩展资料：

gross与以下词性连用：

一、n.

1、act of gross injustice

极端不公的法案

2、gross mismanagement

管理极为不善

3、gross negligence

严重过失

4、gross income

总收入

5、gross margin

总利润

二、v.

feel gross

感到很恶心

The Great Gatsby

重点词汇

Great

英 [ɡreɪt]  美 [ɡreɪt]

adj. 伟大的，著名的；大型的，巨大的；（数量或程度）极大的，很大的；美妙的；身心健康的，精力充沛的；重要的，重大的；热心的，热衷的；和蔼的，随和的；（外）曾祖（或曾孙）的；<爱尔兰>（二人）亲近的，亲密的；擅长……的。

adv. 很好地，很棒地。

近义词：

greater

英 [greɪtə(r)]  美 [ˈɡreɪtər]

adj. 较大的（great的比较级）。

短语

Greater London 大伦敦 ; 大伦敦地区 ; 大伦敦市 ; 大伦敦区。

了不起的盖茨比 The Great Gatsby美[ðə ɡreɪt ˈgætsbi]词典The Great GatsbyF. Scott FitzgeraldGreat Gatsby,The例句《了不起的盖茨比》（The Great Gatsby）上周末的票房成绩和首映时相比下降了53%，只获得了2340万美元的票房。其美国本土总票房升至9020万美元。'The Great Gatsby' dropped 53% from its solid opening, grossing$ 23.4 million and bringing its total domestic box office take to$ 90.2 million.

Gone With The Wind by Margaret Mitchell - Reviewed by Anna 11/4/05 at Jo’s Everybody hadn’t read the whole of Gone With The Wind – or GWTW – but everyone had an opinion on it. There were basically two camps. There were the die-hard Scarlett fans, led by Sharon and Jo, who could hear no wrong said about their heroine; and those who thought she was selfish, hard and completely insensitive to the pain and misery her actions caused to others. At least that was how the evening began. We weren’t seated on opposite sides of the rooms, but the divide was as palpable as if we’d drawn a net across the room. The Scarletts ready to defend her come what may, be it Yankees, starvation, adultery or fellow book group members; the others warily unwilling to have her glamour, as a raison d’etre, forced upon them. But as we talked it became obvious that our differences were not so great. The Scarletts were seduced by her glamour but not blind to her faults. They loved Scarlett, so when she did unspeakable things they looked beyond them for reasons. They pointed to her upbringing, which was totally geared to being a refined wife and mother, leaving her completely unprepared for the chaos of war into which she was thrown. Scarlett was a fighter, but a fighter with no training. She had to find what weapons she could, and sometimes her weapons weren’t very pleasant. But she was not content to sit back on principles and traditions and let life as she’s known it slip away while she watched on the sidelines. That was Ashley’s way, and Melanie’s. More than once Margaret Mitchell refers to Darwinism. The book is set in a time when evolution would have been a controversial topic, talked about in the drawing rooms and clubs frequented by Ashley Wilkes and Rhett Butler. She even has Scarlett refer to “the survival of the fitting”! But although she makes a joke of it, this is really the key to Scarlett. She is the strong who will survive, unlike Melanie and Ashley who will be winnowed out, whose day has been and gone. And for that reason alone, we must love Scarlett – amidst the chaos and degradation of the Civil War she is the future. Which means that she is our present. It is no accident that their nearest neighbour, Mrs Tarleton, is a horse breeder and breeding a topic of conversation (be it frowned upon) in the O’Hara household. The Wilkes and Hamilton families are known for inbreeding. Ashley and Melanie the result of this, they are cousins and neither are strong. This doesn’t bode well for Beau’s future health. Scarlett, on the other hand, is the result of interbreeding between races, between continents, between new and old, brashness and gentility, vigour and apathy. She has her parents on her shoulders like the devil and the angel, Ellen sighing, urging kindness, sympathy, fortitude and womanly wiles; Gerald headstrong and vulgar, taking the straightest line he can to what he wants, unafraid of a little cheating or killing on the way, but capable of enormous love. When Ellen dies her influence on Scarlett loses its intensity. She is more like her father than her mother after all. So when she leases convicts to work her mill and works them until they drop, we grit our teeth and say she must do what she needs to, or the future, our capitalist society, will have nothing to build upon. We forgive her for being such a terrible mother as she was so young. Nineteen, widowed with a child, parentless, in charge of two sick sisters and a cotton plantation in the midst of a war zone. We forgive her her intellectual vacuity, as that’s what she was brought up to value in her sex, and the future needs vitality not reflectiveness. If she had spent her childhood reading rather than running wild climbing trees and riding horses, how would she have coped with the physical demands of the ride home to Tara and the exhaustion of working in the fields. Not only physical exhaustion, but emotional too. And this was the point which came out of our discussion which we all agreed on. Scarlett, in the course of the book, becomes emotionally damaged. She tells Rhett that she threw her goodness out of the sinking boat because she didn’t need it, and that she would retrieve it once danger was passed. Rhett replies that it is difficult to retrieve goods thrown overboard, that even if we do they are damaged beyond repair. And this is what has happened to Scarlett. She didn’t start out irredeemably selfish and bad. She was the product of her upbringing and headstrong nature. At sixteen she was barely formed, ready to be moulded by whatever life brought. And life brought war, death of her loved ones, starvation and the complete disintegration of the world she knew. That she came through this holding her head up and thinking about tomorrow is a reason to love Scarlett O’Hara.