英和和英

動詞

re-animate (三人称単数 現在形 re-animates, 現在分詞 re-animating, 過去形および過去分詞形 re-animated)

1. Alternative form of reanimate.
   • 1813 January 27, [Jane Austen], chapter II, in Pride and Prejudice, volume II, London: […] [George Sidney] for T[homas] Egerton […], →OCLC, page 22:

     It was possible, and sometimes she thought it probable, that his affection might be re-animated, and the influence of his friends successfully combated by the more natural influence of Jane’s attractions.

   • 1831 October 15, Mary W[ollstonecraft] Shelley, “Introduction”, in Frankenstein: Or, The Modern Prometheus (Standard Novels; IX), 3rd edition, London: Henry Colburn and Richard Bentley, […], published 31 October 1831, →OCLC, page x:

     Perhaps a corpse would be re-animated; galvanism had given token of such things: perhaps the component parts of a creature might be manufactured, brought together, and endued with vital warmth.

   • [1895?], A[mbroise] Rendu, “[History of the Church from the Death of Constantine to That of Theodosius] Illustrious Men of the Church in the Fourth Century”, in Theresa Crook, transl., The Jewish Race in Ancient and Roman History, London: Burns & Oates, Limited; New York, N.Y.; Cincinnati, Oh.; Chicago, Ill.: Benziger Brothers, page 388:

     It was because there was no inspiration in the debased dogmas, in the decried instructions of paganism; it was because creeds, which are the life of the soul, were withdrawn from men; genius had to be re-animated under vigorous conditions; human thought had to be elevated; heaven had to be implored for what could not be found on earth.

   • 1997, Shane Mooney, Nintendo 64 Ultimate Strategy Guide, SYBEX, →ISBN, page 56:

     Although diehard DOOMers will no doubt revel in killing the thrice re-animated creatures, this is essentially a dead game in more ways than one.

   • 2001, Alan Tate, “Parc de la Villette, Paris”, in Great City Parks, London; New York, N.Y.: Spon Press, published 2003, →ISBN, page 60, column 2:

     The Objectives noted that: […] • the district of la Villette had to be re-animated – the park was not so much a lung as a heart

   • 2008, BioWare, Mass Effect, Redwood City: Electronic Arts, →ISBN, →OCLC, PC, scene: Husks Codex entry:

     After the geth secure a location, they round up and impale dead and living bodies on mechanical spikes. The spikes rapidly transform these victims into withered husks, extracting water and trace minerals and replacing them with cybernetics.
     The cybernetics re-animate the lifeless flesh and tissue, transforming the bodies into mindless killing machines.

   • 2020, Martin O’Brien; Gianna Bouchard, “Zombie sickness: contagious ideas in performance”, in Alan Bleakley, editor, Routledge Handbook of the Medical Humanities, Routledge, →ISBN, part IV (Medicine as performance かつ public engagement):

     This scene re-members the Rembrandt painting The Anatomy Lesson of Dr Nicolaes Tulp from 1632. The image honours the once famous Dutch physician, his contribution to medical science and a number of his contemporary surgeon colleagues who are also captured in the moment. It suggests that medicine has long depended on re-animating corpses for its own epistemological and legitimising ends.