self-love ['self'lʌv]

self-love的基本解释

n.

自爱, 利己主义, 自恋

与self-love相关的网络例句 [注：此内容来源于网络，仅供参考]

Part two Part two Okay lets do this here again in front of all of your friends I need a little room but dont go Cant be too far youre the star of my show And you dont need a mike to move the crowd Dont need a spotlight you smile, They wanna see the love we sold out I bet when its over, they go wow They know what it is, what it is Hard to end up with a couple of kids When they say, and the winner is They gonna be calling our card for the love again Give them what they want Show them how to love They want something new They want love part two They see action and lights They want that in their life They want love like us coz its new They want the love part two, part two The winners you this year,again A round of applause from all of them They try to memorise your lines I know you by heart, coz youre mine You dont need a crowd to do the show Dont even need the script coz you know That even when the lights go out The show must go on So I Give them what they want Show them how to love They want something new They want love part two They see action and lights They want that in their life They want love like us coz its new They want the love part two Its like a replay love Cut off that he she say love Turn up that make me stay love Its all that i want Somebody show your love Somebody out there want your love They stay through all of part one I know what they want, what they want Give them what they want Show them how to love They want something new They want love part two They see action and lights They want that in their life They want love like us coz its new They want the love part two What they want Show them how to love They want something new They want love part two They see action and lights They want that in their life They want love like us coz its new They want the love part two They want the love part two They want the love part two Baby,They want the love part two They want the love part two Love part two They want the love part two They want the love part two

第二部分第二部分这样好让这里的所有朋友面前再次我需要一个小房间但是dont去也不容过于youre我的一颗明星和你不需要一麦克风移动人群 dont需要聚光灯你微笑，他们希望看到我们的爱售罄我敢打赌，当它结束了，他们走哇他们知道它是什么，它是什么很难最终形成了两个孩子当他们说，获奖者是他们gonna是要求我们的爱再次卡给他们他们想要的东西告诉他们如何爱他们希望新的东西他们希望爱第二部分他们看到行动和灯光他们希望在他们的生活他们希望像我们这样的堂妹爱新他们希望爱第二部分，第二部分优胜者你今年再次来自所有这些全面的掌声他们试图记住您的线路我知道你的心，我的堂妹youre 你不需要人群做节目 Dont甚至需要脚本堂妹你知道这甚至当灯熄灭该比赛必须继续进行因此，我给他们他们想要的东西告诉他们如何爱他们希望新的东西他们希望爱第二部分他们看到行动和灯光他们希望在他们的生活他们希望像我们这样的堂妹爱新他们希望爱第二部分它像一个重放的爱切断她说，他爱打开了，使我留下的爱它的一切，我希望有人展示你的爱有人在那里要你的爱他们通过各种逗留第一部分我知道他们想要什么，他们想要的东西给他们他们想要的东西告诉他们如何爱他们希望新的东西他们希望爱第二部分他们看到行动和灯光他们希望在他们的生活他们希望像我们这样的堂妹爱新他们希望爱第二部分他们想要的东西告诉他们如何爱他们希望新的东西他们希望爱第二部分他们看到行动和灯光他们希望在他们的生活他们希望像我们这样的堂妹爱新他们希望爱第二部分他们希望爱第二部分他们希望爱第二部分婴儿，他们希望爱第二部分他们希望爱第二部分爱第二部分他们希望爱第二部分他们希望爱第二部分

From May 4th Movement of 1919 to the 1920s, sex love narrations in Chinese novels were rather an enlightenment and liberation in that particular era with four characteristics. Firstly, sexual desire was endowed with rationality with regard to liberation of human nature and mutual love. Secondly, with an epochal concern for a stronger and superior race, greater attention was paid to sexual parties concerned, mainly physically. Thirdly, new ethics on sex were promoted in that personal freedom on sex love was emphasized and sex love became an important way of self-fulfillment. Therefore, independence of sex love was advocated and the scope of sex love was also widened. Fourthly, the sex consciousness of this period had the mixed features of the past and the contemporary. Sex love narrations in the 1930s and 1940s showed a further exploration on the theme of human nature. First of all, sex was restored to a kind of desire. ShenCongwen probed the importance of harmonious sex love to a sound personality and Shi Zhecunrevealed that sexual inhibition could lead to the distortion, even frenzy of human nature. Bothexplored the influence and functions of sexual desire as human nature upon human personality,giving prominence to the irresistibleness of sexual desire and the significance of sexual desire asa motive. Then, human bodies driven by sexual desire were described and given greater attentionto. Next, ethics on sex were deconstructed either by Shen Congwen who opposed man-madeethics with law of nature and the School of New Sensation who replaced traditional ethics on sexwith exchange rules in consumption, or by Shi Zhecun who spared no efforts in representing thecomplete failure of social rules, including ethics on sex, due to the impact from sexual desire.The direct effect was a paleness of the ethical binding force on sex. Last, sex consciousness inthe works of female writers emerged. In the early works of Ding Ling, the sexual desire of thefemale is no longer a ramification of emotion but an independent one. In addition, in the sex lovenarrations of other female writers, such as Mei Niang, strong self-consciousness on the socialstatus of the female is also reflected. Sex love narrations in the late 1970s and early 1980s wereactually a re-enlightenment in the spirit of humanism, whose major features include humanisticlegitimation of sex love within the boundary of ethics, a blend of sex love narrations withnational concepts and national myths as well as the aesthetic, poetic descriptions of humanbodies etc. In the middle and late 1980s, sex love narrations entered a stage of exploration forpluralism. First, by restoration of sexual desire, writers of this era restored human nature, thevery original state of human being. Different emphasis and tendencies could be seen in differentwriters: looking at sex love dialectically and trying to describe its creative as well as destructivecharacteristics; connecting sex love with violence and trying to reveal the evil side of humannature through it; emphasizing the creativeness of sex love especially in the heritage of"wildness".

从"五四"到20世纪20年代，中国小说的性爱叙事是一种处在时代夹缝中的启蒙和解放，其所表现出来的特点，一是正面赋予性欲望以合理性，这种合理性是在人性解放和爱情前提下获得的；二是在强种育种的时代焦虑影响下小说性爱叙事表现出对物质身体的关注，其焦点主要在体格方面；三是树立起新的性伦理道德观念，表现为强调在性爱问题上的个人选择自由，性爱成为个人自我实现的重要方式，从而赋予人在性爱问题上的独立性，同时还扩大了性爱表现的领域；四，这个时期小说性爱叙事中所表现出的性意识还具有新旧杂糅的特点。30、40年代小说性爱叙事表现出对人性主题的深化与丌拓，首先是把性还原为欲望本身来探索，沈从文从和谐性爱对健全人性的决定作用、施蛰存从性压抑会导致人性扭曲甚至疯狂的角度探讨作为人类本质性欲望的性对人性产生的影响和作用，突出了性欲力量的不可抗拒和作为人类行为的重要动力等方面的内容；其次在叙事中表现出对欲望化了的身体的描绘与关注；第三是解构了性的伦理道德，无论是沈从文以自然法则来反对人为的道德设置还是新感觉派用消费交换原则替代传统性伦理道德，或是施蛰存极力表现包括性伦理规范在内的社会法则在性欲力量冲击下溃不成军，其直接的效果都是使性伦理道德对人的约束力量显得苍白虚弱；第四，出现了由女性作家表现的女性性意识，在丁玲的早期作品中女性的性欲望不再是作为感情的衍生物而是独立的欲望存在，而在梅娘等其他女作家的小说性爱叙事中则表现出对女性社会地位的强烈自觉意识。70年代末80年代初期小说的性爱叙事实际上是在人道主义语境下的再次启蒙，其主要特征一是性爱在人道主义前提下获得合法性，但要求性爱不超出伦理规定的范围；再就是将性爱叙事同国家观念和民族神话相融合；此外还有对身体的描写审美化诗意化等。80年代中后期，小说性爱叙事进入了多元化探索的阶段，作家通过还原性欲望来还原人性、还原人类的本真状态，不同作家笔下表现为不同的侧重和倾向——以辨证的方式看待性爱，写出其具有的创造性力量和毁灭性特征；将性爱与暴力相联系并通过其来表现人性的黑暗；强调性爱的创造性作用，尤其在民族"血性"的传承方面。

From May 4th Movement of 1919 to the 1920s, sex love narrations in Chinese novels were rather an enlightenment and liberation in that particular era with four characteristics. Firstly, sexual desire was endowed with rationality with regard to liberation of human nature and mutual love. Secondly, with an epochal concern for a stronger and superior race, greater attention was paid to sexual parties concerned, mainly physically. Thirdly, new ethics on sex were promoted in that personal freedom on sex love was emphasized and sex love became an important way of self-fulfillment. Therefore, independence of sex love was advocated and the scope of sex love was also widened. Fourthly, the sex consciousness of this period had the mixed features of the past and the contemporary. Sex love narrations in the 1930s and 1940s showed a further exploration on the theme of human nature. First of all, sex was restored to a kind of desire. ShenCongwen probed the importance of harmonious sex love to a sound personality and Shi Zhecunrevealed that sexual inhibition could lead to the distortion, even frenzy of human nature. Bothexplored the influence and functions of sexual desire as human nature upon human personality,giving prominence to the irresistibleness of sexual desire and the significance of sexual desire asa motive. Then, human bodies driven by sexual desire were described and given greater attentionto. Next, ethics on sex were deconstructed either by Shen Congwen who opposed man-madeethics with law of nature and the School of New Sensation who replaced traditional ethics on sexwith exchange rules in consumption, or by Shi Zhecun who spared no efforts in representing thecomplete failure of social rules, including ethics on sex, due to the impact from sexual desire.The direct effect was a paleness of the ethical binding force on sex. Last, sex consciousness inthe works of female writers emerged. In the early works of Ding Ling, the sexual desire of thefemale is no longer a ramification of emotion but an independent one. In addition, in the sex lovenarrations of other female writers, such as Mei Niang, strong self-consciousness on the socialstatus of the female is also reflected. Sex love narrations in the late 1970s and early 1980s wereactually a re-enlightenment in the spirit of humanism, whose major features include humanisticlegitimation of sex love within the boundary of ethics, a blend of sex love narrations withnational concepts and national myths as well as the aesthetic, poetic descriptions of humanbodies etc. In the middle and late 1980s, sex love narrations entered a stage of exploration forpluralism. First, by restoration of sexual desire, writers of this era restored human nature, thevery original state of human being. Different emphasis and tendencies could be seen in differentwriters: looking at sex love dialectically and trying to describe its creative as well as destructivecharacteristics; connecting sex love with violence and trying to reveal the evil side of humannature through it; emphasizing the creativeness of sex love especially in the heritage of"wildness".

从&五四&到20世纪20年代，中国小说的性爱叙事是一种处在时代夹缝中的启蒙和解放，其所表现出来的特点，一是正面赋予性欲望以合理性，这种合理性是在人性解放和爱情前提下获得的；二是在强种育种的时代焦虑影响下小说性爱叙事表现出对物质身体的关注，其焦点主要在体格方面；三是树立起新的性伦理道德观念，表现为强调在性爱问题上的个人选择自由，性爱成为个人自我实现的重要方式，从而赋予人在性爱问题上的独立性，同时还扩大了性爱表现的领域；四，这个时期小说性爱叙事中所表现出的性意识还具有新旧杂糅的特点。30、40年代小说性爱叙事表现出对人性主题的深化与丌拓，首先是把性还原为欲望本身来探索，沈从文从和谐性爱对健全人性的决定作用、施蛰存从性压抑会导致人性扭曲甚至疯狂的角度探讨作为人类本质性欲望的性对人性产生的影响和作用，突出了性欲力量的不可抗拒和作为人类行为的重要动力等方面的内容；其次在叙事中表现出对欲望化了的身体的描绘与关注；第三是解构了性的伦理道德，无论是沈从文以自然法则来反对人为的道德设置还是新感觉派用消费交换原则替代传统性伦理道德，或是施蛰存极力表现包括性伦理规范在内的社会法则在性欲力量冲击下溃不成军，其直接的效果都是使性伦理道德对人的约束力量显得苍白虚弱；第四，出现了由女性作家表现的女性性意识，在丁玲的早期作品中女性的性欲望不再是作为感情的衍生物而是独立的欲望存在，而在梅娘等其他女作家的小说性爱叙事中则表现出对女性社会地位的强烈自觉意识。70年代末80年代初期小说的性爱叙事实际上是在人道主义语境下的再次启蒙，其主要特征一是性爱在人道主义前提下获得合法性，但要求性爱不超出伦理规定的范围；再就是将性爱叙事同国家观念和民族神话相融合；此外还有对身体的描写审美化诗意化等。80年代中后期，小说性爱叙事进入了多元化探索的阶段，作家通过还原性欲望来还原人性、还原人类的本真状态，不同作家笔下表现为不同的侧重和倾向——以辨证的方式看待性爱，写出其具有的创造性力量和毁灭性特征；将性爱与暴力相联系并通过其来表现人性的黑暗；强调性爱的创造性作用，尤其在民族&血性&的传承方面。

与self-love相关的网络解释 [注：此内容来源于网络，仅供参考]

self-love：自爱

生命辉煌的节奏之一是阴与阳. "存在"(Being)的某一面向并不比另一面向"更好"或"更完美". 两种面向都仅是奇妙的面向. 但是......性是否可以纯为个人满足呢?令人惊奇的是,答案是可以. 因为,"个人的满足"正是自爱(Self Love)的另一个说法.

self-love：自爱/利己主义

self-locking /自动上锁的/ | self-love /自爱/利己主义/ | self-made /自制的/自力更生的/独力奋斗的/

self-love：自我爱怜

34、自我毁灭 Self-murder | 35、自我爱怜 Self-love | 36、自我暴露 Self-betrayal

self-love：自我之恋

自然之爱:love for nature | 自我之恋:self- love | 言情小说:love novels

Self-Esteem, Self-Love：(自尊,自爱)

Secularization (世俗化) | Self-Esteem, Self-Love (自尊,自爱) | Self-Existence of God (神的自存)