查询词典 uplifting mood handed down from a certain period of era

At present such high handed down to spend a few, most series wood acid technology, the era of the late Qing to the Republic of China.

目前这类传世高花几，绝大多数系酸技术木制成，时代都在清晚期至民国时期。

During the third period (from 1937 to 1942), Li Jianwu came out with his second wonderful work "Ju Hua Second Volume". Compared with the "Ju Hua Volume","Ju Hua Second Volume" changed its length, style and character manner. The remarkable change is reflected in the choice of the critical object, and the continuation and development of literary view. The critical object was changed form "Jing Group" youth to "left wing" literature youth. The highlight of criticism not only preserved the need to the "harmoniousness" and "continency", but also further noticed the elements of "era" and "force". From such a choice full of antinomy and quandary, it is not hard to conclude a thinking logic in accord with "era" color.

第三阶段从1937年到1942年，李健吾紧接着捧出第二束奇葩--《咀华二集》，与《咀华集》相比，《咀华二集》在篇幅、文体、文字风格等方面都发生了变化，而最大的变化当属评论对象的选择以及相应的文学观的延续与发展，评论对象由前一时期的"京派"青年作家转向左翼文学青年，批评视点除继续保留对"和谐"与"节制"的要求外，进一步注意到"时代"和"力"的因素，从这一充满矛盾与困惑的选择中不难窥见出一种合乎"时代"色彩的思维逻辑。

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。

Like the Palaeozoic Era, the Mesozoic Era has been divided into smaller units of geological time called period.

如同古生代一样，中生代也可划分成一些叫纪的较小的时间单位。

Unfortunately, we are living in the era of nihilism, whether in the theoretical level, or in the real level, it enveloped us the same as the air, which all the time affect us so that we can not escape, it is very easy to allow the mercy; But fortunately, we are in relatively mature period of nihilism, so we could have a chance to feel it and can stand on the shoulders of giants to know it, and analyse true existence state of human being in the era of nihilism, and on this basis can consciously overcome human being's nihil, and achieve the comprehensive development of human being.

不幸的是，我们生逢虚无盛行的时代，不管是在理论层面，还是在现实层面，它如同空气一样笼罩着我们，无时无刻不在影响着我们，使我们无法摆脱，很容易听任它的摆布；但又幸运的是，我们正处在虚无相对成熟的历史时期，因而能有机会切身地去感受它，能站在思想巨人的肩膀上去认识它，剖析人在虚无时代下真实的生存状态，从而能够在此基础上自觉地克服人的虚无，实现人的全面发展。

The film shows whether the philosophy of power or consumption of aestheticism has become legitimized with the new development of globalization and marketization since the 1990s in China, which shows accompanied with the high-speed economic development in China, China has deviated from its globalization in the 1990s and the Post-New Era in the early period of marketization into an era of the new century culture.

英雄》说明无论是强者哲学或唯美主义的消费性都伴随着中国在九十年代以来的全球化和市场化进程的新的发展而变成了具有合法性的，说明伴随着中国经济的高速成长，中国已经脱离了九十年代中国全球化和市场化&前期&的&后新时期&，进入了一个&新世纪文化&时期。

The film shows whether the philosophy of power or consumption of aestheticism has become legitimized with the new development of globalization and marketization since the 1990s in China , which shows accompanied with the high-speed economic increase in China , China has deviated from China's globalization in 1990s and Post-New Era in the early period of marketization into an era of the new century culture.

英雄》说明无论是强者哲学或唯美主义的消费性都伴随着中国在 90 年代以来的全球化和市场化进程的新的发展而变得具有了合法性，说明伴随着中国经济的高速成长，中国已经脱离了 90 年代全球化和市场化&前期&的&后新时期&，进入了一个&新世纪文化&时期。

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。

Time really flies, it was already 4 o'clock in the afternoon when we were aware of the existence of the time, got to ring down the curtain, some colleagues were still going to watch the uplifting show, Quidam from Cirque du Soleil, some of colleagues also planned to go to cinema for 'Transformers'.

时间过的飞快，转眼已是下午四时，该是这场盛会落下帷幕的时候了，有的同事还要赶去观赏正在上海上演的太阳马戏，有的同事计划了去看一场电影"变形金刚"。

Then through building modes of Mountain Hala'alat and faults controlling basin, it is thought that uplifting of mountain, subsidence of Wuxia fault belt and Heshentologa innertief basin have close relation to circle of landmasses, strike slip motion of marginal faults, so"Transpression Model"and"Differential Circling, Departure Up And Down Model"are proposed.

通过建立哈山及控山控盆断裂的构造模式，认为哈山的隆升、乌夏断裂带的沉降及和什托洛盖盆地的发育与地块间的相互旋转、盆地周缘走滑断裂的旋向关系密切，因此符合压扭构造模式和&差速旋转、上下脱耦&模式。

A carrier gas such as nitrogen is directed through line 20 and valve 22 to connect with line 26 and mix with the gas sample.

如氮气之类的载体通过管线20和阀22引入，与管线26相通，与气体样品混合。

But for the most part, knaves and parasites had the command of his fortune

然而支配他的家产的大多是恶棍和寄生虫。