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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。

"There were victims who really had no idea what they were getting was fake," Olsen says."Until you actually plug the piece in or take the truss rod cover off and notice that there's Teflon in there rather than the metal nut, it can be hard to tell to many consumers."

&确实有很多受害者，他们本身无法辨认他们买到的是真货还是假货，&Olsen说道，&只有自己亲自插上琴，或者把那个琴头上的盖子拿掉，才发现里面只有一个孔，而不是真正Gibson应该有的金属的调节螺丝。&

I didn't like sitting next to the thief who was a young , rather tough-looking man, but I had no choice, Fortunately it wasn't far to the police station .

我不喜欢坐在旁边给窃贼谁是一个年轻的，而强硬的男人，但我别无选择，幸运的是不远处警察局。

He asked me to help him take the car thief to the nearest police station. The three of us got into the stolen car. We drove off with the taxi following. I didn't like sitting next to the thief who was a young , rather tough-looking man, but I had no choice, Fortunately it wasn't far to the police station . When we got there, the policeman took my name and address, thanked me for my help and said I could go.

我们三个坐上了那辆被偷来的车，我们在前面开，那辆出租车在后面跟着，我不喜欢跟那个看起来很年轻但是长相很凶狠的贼坐在一起，但是我没有选择，幸运的是离警察局不算太远，等我们道达之后那个警察记下了我的名字和地址，对我道谢然后说我可以走了。

In this set of works, the self-image disappeared and the surreal empty space disappeared. They are replaced by landscape or objective images, but these images are of symbol and metaphor, rather than particular figures. In the 1990s, the trend of Pop art finally had an impact on Deng Jianjin. The obscure colors are replaced by bright colors which are neither the natural colors nor the tone pursued by traditional oil painting. They come from the space of contemporary life that is the visual space of icons and landscapes.

在这一批作品中，自我的形象没有了，超现实的虚无空间也没有了，代之以景观的或客体的形象，但这种形象是隐喻与象征的，而非特定的人物形象。90年代波普化的大潮终于对邓箭今产生了影响，晦涩的颜色被明亮鲜艳的颜色所代替，这种颜色不是自然的颜色，更不是传统油画所追求的色调，它来自于当代生活的空间，亦即图像与景观的视觉空间。

As is inevitable with a buffet that opens from 6.30 a.m., the dishes had become rather dry and tired-looking by 8.30: but freshly cooked omelettes were available.

因为自助餐必须早上6点半开业，到了8点半我们去的时候已经变成残羹冷炙了，不过新鲜出炉的煎蛋卷还是可以吃到的。

As is inevitable with a buffet that opens from 6.30 a.m., the dishes had become rather dry and tired-looking by 8.30: but freshly cooked omelettes were available.

自助餐供应时间从早晨六点半开始，这样会有不便之处，那就是到八点半的时候，各类早点看着不新鲜，吃着也干硬。但是煎蛋卷是可以吃到刚做好的。

I'd rather stick needles in my eyes than go play golf, but I had to learn how to play for the movie Tin Cup.

我宁愿自己的眼睛被针扎着，也不愿去打高尔夫球，但是我必须为了电影《锡杯》学会如何打。

Taking a sweeping view over the whole process of this crisis, we can find that the army, rather than just a military force, had become an important political force at that time.

纵观3世纪危机整个过程，我们不难发现，这时的军队不再单纯扮演军事角色，已经成为一支重要的政治力量。

We did not meet again for ten years,by then,the rather puny boy had grown into a six-foot man,weighing 200 pounds.

我们有10年没有见面了，本来是一个小不点的男孩子，现在已长成6英尺高200磅重的大个儿了。

Breath, muscle contraction of the buttocks; arch body, as far as possible to hold his head, right leg straight towards the ceiling (peg-leg knee in order to avoid muscle tension).

呼气，收缩臀部肌肉；拱起身体，尽量抬起头来，右腿伸直朝向天花板（膝微屈，以避免肌肉紧张）。

The cost of moving grain food products was unchanged from May, but year over year are up 8%.

粮食产品的运输费用与5月份相比没有变化，但却比去年同期高8％。