「The Woman in White」に関連した英語例文の一覧と使い方 - Weblio英語例文検索

The fat woman, the young couple, the sleeping Indian and the tall man in black, but now skin and flesh and hair had disappeared, and empty eye sockets stared from gleaming white skulls. 例文帳に追加

太った女性も、若いカップルも、眠っているインド人も、そして、背の高い黒服の男も。しかし、今では皮膚も肉も髪もなくなって、ぼんやり光る白い頭蓋骨から、からっぽの眼窩がにらみつけていた。 - Tanaka Corpus

According to an expository writing of the same book, it is a waiting woman serving a deity of face powder called "Shifunsenjo" (Goddess of White Powder); however, it is unclear whether this is the same one as the Oshiroibaba according to the legend in Nara. 例文帳に追加

同書の解説文によれば、脂粉仙娘（しふんせんじょ）というおしろいの神に仕えている侍女とされているが、奈良の伝承における白粉婆と同一のものかは不明。 - Wikipedia日英京都関連文書対訳コーパス

According to the notes and additional remarks of No. 1219, "Gosen Wakashu (the second of the Imperial anthologies of classical Waka poetry) Vol. 17, Miscellaneous 3," she was a 'famous, tasteful woman' who lived in Shirakawa in Tsukushi Province; when FUJIWARA no Okinari, a senior assistant governor-general of Government Headquarters in Kyushu, asked her to fetch water, she is to be said to have composed a poem which reads, 'Time has passed and my once black hair has turned white, and I have fallen so low that now I have to fetch water from the Shirakawa River myself.' 例文帳に追加

『後撰和歌集・巻第十七・雑三』、1219番の詞書と付記によれば、筑紫国の白河という所に住んでいた「名高く、事好む女」で、大宰大弐・藤原興範に水を汲むよう乞われると、「年ふればわが黒髪も白河の　みづはくむまで老いにけるかも」と詠んだという。 - Wikipedia日英京都関連文書対訳コーパス

In 1956 he moved to Toei Kyoto Movie Studios, directing many masterpieces featuring Toei star Kinnosuke YOROZUYA, such as "Kaze to onna to tabigarasu" (The Wind, a Woman and a Traveling Crow), in which the main characters daringly appeared with no makeup on in an age when stars generally wore white Shironuri makeup; "Mabuta no haha" (Mother of My Dreams), a reworking of Shin HASEGAWA's novel; and the unique "Sanada fuunroku" (Tale of the Sanada Family), a highly regarded example of the 'New Wave of Toei Jidaigeki,' which encompassed musicals, science fiction and social criticism. 例文帳に追加

1956年、東映京都撮影所に移籍し、白塗りのスターが活躍するのが主流だった時代に、あえて主要キャストがノーメイクで出演する『風と女と旅鴉』、長谷川伸の名作を甦らせた『瞼の母』、そしてミュージカルやSF、リアルタイムの時代批判などさまざまな要素を詰め込んで「東映時代劇のヌーヴェルヴァーグ」と絶賛された異色作『真田風雲録』など、東映の看板スターだった萬屋錦之介と組んで数々の傑作を監督する。 - Wikipedia日英京都関連文書対訳コーパス