查询词典 in spirit

In conclusion, the results of multilevel model analysis showed that the GERD score of resident in Wuhan was relatively higher and had significant difference with that in Guangzhou, however, that in Shanghai, Beijing and Xi\'an had no significant difference compared with that in Guangzhou. That is to say, the prevalence of GERD in Wuhan was relatively higher compared with the other four survey sites; the residents'health status more worse, the GERD score more higher, and the influence of health status on GERD score was also effected by the region difference between Wuhan and Guangzhou; residents lived in rural region with lower education level, worse spirit status were more likely to suffer from GERD; Moreover, those residents who had family history of GI tumors or other GI diseases, some anamneses (such as dyspepsia, gastritis, rheumatic arthritis), and some diseases (such as irritable bowel syndrome and aerophagia) were also more likely to report GERD. However, no significant association was found between GERD and some other factors in this survey, such as sex, age, etc.

总之，多水平模型分析结果显示，与广州相比，上海、北京和西安居民的GERD总评分没有明显的差异，而武汉居民的GERD总评分则相对较高，即表示武汉的GERD发病率在5个调查城市中相对较高；居民的总体健康状况越差，其GERD总评分越高，且其对GERD总评分的影响受到武汉与广州之间地域差异的影响；农村居民、文化程度越低、精神状况越差者更容易患GERD；另外，那些有胃肠道疾病或肿瘤家族史，既往患有胃炎、消化不良、风湿性关节炎，现患有肠易激综合征、吞气症的人，患GERD的可能性更大，而性别、年龄等因素，本研究未发现其与GERD有显著的关系。

By metaphorically invoking the photographic terminology in the spirit of Bergsonian / Deleuzian time-movement interpretation as inspiration, the exhibition Timelapse in which a dozen artists from both Switzerland and China will participate, attempts to examine the fundamental constituent of digital media: the concept of time and its embodiment in space, its evocation of passage and memory, its movement of differentiation and its state of representation in diverse formal grammars to reveal the social implications of the fast in the disguise of the slow, the multiplicity in temporality and disparity in spatiality, both psychologically and geographically, stirring up a desire to scrutinize the nuances and ramifications in regards to the construct of cultural being in the disparate framework of time in distance and space in locality and the potential collapse of such time-space duality.

本次展览以柏格森以及德卢兹（ Deleuze，均为法国哲学家）有关时间－运动的解释为契机，含蓄地缓引"延时"这一摄影术语，在瑞士和中国两国艺术家的参与中，试图检验数字媒体的根本构成因数，及时间的概念以及其在空间中的体现，其对于过程和记忆的启示，其运动所产生的差异，以及其在运用形式语言时所呈现的不同表象，从而揭示被缓慢所遮掩的亟速之社会内蕴，其在时空中之心理与地理间的多样化和差异性，激起我们对于细察在不同的时空概念的框架下文化的构建，以及对于这种时空二元性之崩溃的可能性的欲念。

With the mention of the ghosts occurring in the traditional Chinese culture, it goes on to analyze the ghost images appearing in Amy Tan's novels in two categories, i.e., those on literal level, such as the ghosts stories told by Kwan in The Hundred Secret Senses, and the ghost lore in the family scenarios of Luth Luyi in The Bonesetter's Daughter, as well as those on figurative level, including the mention of ghosts by An-mei Hsu in The Joy Luck Club and the two spirit examples and Gan in The Kitchen God's Wife.

本章首先论述了传统中国文化中的一些与鬼有关的概念，继而分析了谭恩美小说中两种分类的鬼形象，即真实意义的鬼，以及比喻意义的鬼。前者包括《一百个神秘感觉》中邝所讲的鬼故事以及《接骨师的女儿》中鲁斯家族史中的鬼的故事；后者包括《喜福会》中苏安梅提及的鬼和《灶神之妻》中的两个灵魂形象。

ABSTRACT After the ebb-tide of the May 4th Movement, the Chinese modern thoughts and literary circles went from relative unity towards diversity Up to the 1930's, behind the spirit transformation at the end of the twenties, Chinese modern intellectuals began to relocate and redesign their own outlooks on life and literary ideal The Lunyu School, which was led by Zhou Zuoren and Lin Yutang, mostly appeared as leisure humorous essays in some journals, such as Lun Yu, Ren Jian Shi and Yu Zhou Feng which was edited by Lin Yutang It formed an unique landscape at that time This thesis focused on the Lunyu School as the main object of my study I investigate the Lunyu School by putting it into the vertical orbit of changes of the thoughts and literary circles after the May 4th Movement, and by comparing it with the mainstream of Left-wing and other literary schools in the thirties Through the exploration of Lunyu School's political and social thoughts, literary ideas and aspects of prose creation, I pursue the life choice of some free intellectuals in the thirties, and draw psychological outline of an age of intellectuals, which was very complicated and attractive during that specified time and space When we reconsider the rights and wrongs, the merits and demerits, and the gains and losses in theory and creations of Lunyu School intellectuals, any oversimplified study method would be of"no avail but the waste of mind"Unless ample estimation of their own complexity and contradiction is made, furthermore subtly delineates quite a lot of originates which caused these complexity and contradiction, the research will not be valuable In face of the whizzed coming Left-wing movement in literature, Lunyu School acted as a reconsideration in literary modernity such reconsideration is a layer of thinking They introspected intellectuals'essential mind and enlightened reason, querying the impulsive, swift and fierce ideological trend, judging by value in the relations between individuality and society, individuality and era, literature and politics.

五四落潮后，中国现代思想界、文学界由相对统一走向分化，至二十世纪三十年代，现代知识分子经由二十年代末期的精神蜕变，开始重新定位和设计自己的人生观和文学理想。以"京兆布衣"周作人为精神领袖、以林语堂为主帅的论语派，以幽默闲适小品文相号召，在林语堂主编的一系列刊物《论语》、《人间世》、《宇宙风》上聚集，南北呼应，造成了当时文坛的一种独特景观。本论文以论语派为研究对象，将其放在五四以后文学界与思想界变动的纵向轨迹上，放在与三十年代左翼主流话语的颉颃及与其它文学流派的比照中加以考察，通过对论语派政治社会思想、文学观念及散文创作诸方面的探讨，追索三十年代一部分自由知识分子的人生选择，勾划出他们在一个特定时空里复杂又极具魅力的心理轮廓。学术界对论语派中一些主要作家已有较深入的研究，但迄今为止，尚无从整体上对这一文学流派作宏观研究的专著，而陈旧的理论视界又往往阻碍了对论语派的重新评价。

Answer: The sins forbidden in the first commandment are, atheism, in denying or not having a God; idolatry, in having or worshiping more gods than one, or any with or instead of the true God; the not having and avouching him for God, and our God; the omission or neglect of anything due to him, required in this commandment; ignorance, forgetfulness, misapprehensions, false opinions, unworthy and wicked thoughts of him; bold and curious searching into his secrets; all profaneness, hatred of God; self-love, self-seeking, and all other inordinate and immoderate setting of our mind, will, or affections upon other things, and taking them off from him in whole or in part; vain credulity, unbelief, heresy, misbelief, distrust, despair, incorrigibleness, and insensibleness under judgments, hardness of heart, pride, presumption, carnal security, tempting of God; using unlawful means, and trusting in lawful means; carnal delights and joys; corrupt, blind, and indiscreet zeal; lukewarmness, and deadness in the things of God; estranging ourselves, and apostatizing from God; praying, or giving any religious worship, to saints, angels, or any other creatures; all compacts and consulting with the devil, and hearkening to his suggestions; making men the lords of our faith and conscience; slighting and despising God and his commands; resisting and grieving of his Spirit, discontent and impatience at his dispensations, charging him foolishly for the evils he inflicts on us; and ascribing the praise of any good we either are, have, or can do, to fortune, idols, ourselves, or any other creature.

以及其他所有放荡无节地把我们的心思、意志、情感置于其他事物上，全部或部分偏离祂的事情，例如轻信、不信、异端、误信、怀疑、失望、固执，面对审判仍然麻木不仁，心里刚硬，骄傲，任意妄为，自以为平安无事，试探神；运用不法手段，倚靠不法手段；爱宴乐；虽有热心，却败坏、盲目，没有分辨力；不冷不热，在神的事上是死的；疏离自我，背叛神；向圣徒、天使或其他任何受造物祷告，崇拜他们；与魔鬼结盟，交鬼求问，听其建议；使人成为我们信仰与良知的主；怠慢、藐视神及其诫命；抵挡、消灭圣灵的感动；不满、厌烦神的安排，指责祂行事愚昧，把各样恶事加诸我们身上；把我们所拥有、所得来、所能做的任何好事都归之于幸运、偶像、自己或其他任何受造之物。

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。

In John 3 – principle of re-birth – that which is born of flesh is flesh, that which is born of spirit is spirit.

约翰3章重生的原则是﹕从肉体生的是肉体，从灵生的是灵。

The contradictions and conflicts between scientific spirit and humanistic spirit, which have become a topic of general interest of academic cycles these years, are in fact the continuations and intensifications of the relation between "two cultures"(Culture of science and culture of humanities ) and contradictions thereof.

科学精神与人文精神之间的矛盾和冲突，近几年来成为学术界探讨的热点问题，其实质是&两种文化&之间关系及其矛盾的延续和深化。

The spirit of Chinese philosophy finds expression in three aspects, that is, the Chinese philosophers' spirit of mission, openmindedness and transcendence, which embody their ideological and value orientation.

中国哲学精神作为中国哲学家在思考&时代问题&的过程中所体现出来的思维定向、致思趋向和价值取向，集中体现为中国哲学家的使命精神、致和精神和超越精神。

Therefore, as an important prerequisite,"Artistic spirit" means a common era spirit that expression from literature and art in this article.

所以，作为重要前提本文将其界定为&文学艺术中所体现出的共同时代精神，既人的精神。&

In the negative and interrogative forms, of course, this is identical to the non-emphatic forms.

。但是，在否定句或疑问句里，这种带有"do"的方法表达的效果却没有什么强调的意思。

Go down on one's knees;kneel down

屈膝跪下。。。下跪祈祷