查询词典 creativeness

By resorting to these increasing heights,we, Tongyuan lawyers will only have the chances to measure border of legal service by our self-relocation; to re-understand industrial chain in client groups; to be familiar with clients' diverse demand go beyond their existing demand; to take take strategic move by overcoming interior shortboards, and to explore a beautiful new "blue sea" in lasting value creativeness.

依凭着这些不断攀升的高度，作为同源人，我们才有可能以自身的定位来重新衡量法律服务市场的边界，才会对客户群中的产业链及相对应的法律服务过程有着全局性的重新理解，才能在熟知客户多元化需求的基础上又超越既有的需求，才敢于克服内部&短板&等关键组织障碍并不断地采取&战略行动&，从而在持续性的价值创新过程中开创美丽的&蓝海&！

One of it is that it promotes the democracy and equality of human, and the other side is that it astricts the creativeness and autonomy of human, then make human to lost freedom.

人类自由丧失是形式理性化与实质理性化之间矛盾的体现，它与文化理性化以及经济理性化的主旨一脉相承，成为韦伯思想的落脚点。

His very suggestive stories and notions have been for many years but full lately, which vividly shows the art creativeness of Raymond Caver.

某种意义上，他的这种期待也构成了一种圈套——启迪读者如何面对生活的实质。

Sports ; coachers ; key quality ; creativeness

竞技；教练员；核心素质；创新能力

Facing the opportunity and the challenge, the company receives "victory through creativeness" as the core values, and persisted the science development and storage quantity optimization as development interaction, and take the industrial structure adjustment promotion policy as the guide, implementing "Three Norths Strategy" and "one advanced and two well developed" the company will strive for the new industrialization development by holding the historical development opportunity, by the way of business management, mechanism and technological innovation.

面对机遇和挑战，公司秉承&共创、共赢&的核心价值观，坚持科学发展观，坚持存量优化与增量发展互动，以国家产业结构调整升级政策为向导，全力实施冀东水泥&三北战略&和&一先两进&战略，抓住西部大开发的历史机遇，通过企业管理创新、机制创新、技术创新，走新型工业化发展之路。

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。

The author considers: written language is merely carrier, the thought that undertakesto carry is the only thing to be conspicuous and to be taken seriously, but Chinese styleeducation could not catch sight of this point, on the contrary , it uses the means of standard writing to imperceptibly change and restrain children's creativeness, the ideathat standard is the only criterion of being correct, and things do not conform to the standard are incorrect, has been instilled into children's mind since they started learning to write.

笔者认为：文字仅仅是载体，承载的思想才是应该被凸显被重视的，而中国式教育却看不见这点，反而是以规范书写为手段，潜移默化的束缚了孩子们的创造性，孩子们自学习写字就被灌输了只有标准的才是对的这样的思想，任何不同于标准的都是错误的。

Singer Leona Lewis and former Led Zeppelin guitarist Jimmy Page emerged as the bus transformed into a grass-covered carnival float, and the pair combined for a rendition of "Whole Lotta Love".

歌手leona刘易斯和前率领的飞艇的吉他手吉米页出现巴士转化为基层所涵盖的嘉年华花车，和一双合并为一移交&整个lotta爱&。

This is Kate, and that's Erin.

这是凯特，那个是爱朗。