上首

Treads the beat to start, may choose the advance on the steering wheel or back up, the unique steering wheel also has the music sound production function, dozens of pleasant to hear worlds names ballad, absolutely can let you the baby play happy is excited, comfortable skid resistant flannelette gasification cushion, but also has the safety belt oh, in addition the unique gasification type guards against hits the automobile body, just like has all around packed the security aerocyst in yours baby, in addition the vehicle speed control in each hour 2.5 kilometers, simply Don't worry "the collision" the accident possibly the injury which brought to the baby, the storage battery which the use specially made, charged for 6-8 hour, might open 45-60 minute, The storage battery does not need from the vehicle to take out then completes the charge.

踏板式启动，在方向盘上就可选择前进或倒退，独特的方向盘还带有音乐发声功能，数十首好听的世界名谣，绝对会让您的宝宝玩得开心又兴奋，舒适的防滑绒布充气坐垫，还带有安全带哦，加上独特的充气式防撞车身，犹如在您的宝宝四周装满了安全气囊，加上车速控制在每小时2.5公里以内，根本不用担心"撞车"事故可能给宝宝带来的伤害，使用特制的电瓶，充电6-8个小时，可开上45-60分钟，电瓶无须从车中取出即可完成充电。

From the composite section, it can be found that some fossils'range zones are too short. Maybe it is caused by the fossils not preserved properly or the samples not collected comprehensively. Most fossils'first occurrence data are later than the ages which are defined by the MIDK4 composite section. It is probably caused by the Foraminifer zones in Tethyan- Himalaya which are not isochronous with other areas. It can also be recognized that there are two major extinction and revival events at the boundary of Cenomanian/Turonian and the boundary of Coniacian/ Santonian. They are coincident with the two Ocean Anoxic Events and can be considered as the typical response by creatures.

在复合剖面上可以发现：一些化石的延限非常短，这可能是由于化石保存不完整或者样品采集不全造成的；大部分化石的首现面年龄值都要晚于MIDK4数据库复合剖面给出的年龄值，这可能是由于特提斯喜马拉雅带与全球其他地区的有孔虫化石带不等时造成的；同时，可以在复合剖面上识别出在Cenomanian/Turonian界线附近和Coniacian/Santonian界线附近存在两次大规模的生物灭绝和复苏事件，这正好与两次大洋缺氧事件发生的时间一致，可以作为缺氧事件的生物标志。

Her mainmast and foremast were brought by the board; that is to say, broken short off; but her boltsprit was found, and the head and bow appear'd firm

上面的前桅和主桅都折断倒在了甲板上，但船首的斜桁仍完好无损，船头也还坚固。

It was a dismal Sight to look at: The Ship, which by its building was Spanish, stuck fast, jaum'd in between two Rocks; all the Stern and Quarter of her was beaten to pieces, with the Sea; and as her Forecastle, which stuck in the Rocks, had run on with great Violence, her Mainmast and Foremast were brought by the Board; that is to say, broken short off; but her Boltsprit was found, and the Head and Bow appear'd firm; when I came close to her, a Dog appear'd upon her, who seeing me coming, yelp'd, and cry'd; and as soon as I call'd him, jump'd into the Sea, to come to me, and I took him into the Boat; but found him almost dead for Hunger and Thirst: I gave him a Cake of my Bread, and he eat it like a ravenous Wolf, that had been starving a Fortnight in the Snow: I then gave the poor Creature some fresh Water, with which, if I would have let him, he would have burst himself.

眼前的景象一片凄凉。从那条船的构造外形来看，是一条西班牙船，船身被紧紧地夹在两块礁石之间。船尾和后舱都被海浪击得粉碎，那搁在礁石中间的前舱，由于猛烈撞去，上面的前桅和主桅都折断倒在了甲板上，但船首的斜桁仍完好无损，船头也还坚固。我靠近破船时，船上出现了一只狗。它一见到我驶近，就汪汪吠叫起来。我向它一呼唤，它就跳到海里，游到我的小船边来，我把它拖到船上，只见它又饥又渴，快要死了。我给了它一块面包，它就大吃大嚼起来，活像一只在雪地里饿了十天半月的狼。我又给他喝了点淡水，它就猛喝，要是我不制止它的话，真的可以喝得把肚子都涨破。

Her first novel The Woman Warrior-Memoirs of a Girlhood Among Ghosts was an instant commercial and critical success.

她的首部著作《女勇士——生活在群鬼中的少女回忆》出版之后很快获得了商业上和艺术上的巨大成功。

Thinking about it, what monograms actually give me is a visual pleasure: the pale blue or white fabric interrupted in a perfect spot, where the hand-sewn initials subtly remind everyone that here is Finch – man of the hand-made shirt (stop rolling your eyes: it takes a certain bravery to admit all this in public).

所有这一切都把我带回了那些刻在我新眼镜上的首字母。"为什么，"我心里想，"我这么喜欢徽标吗？"我这种想把自己所有的东西都打上烙印的沉迷是一种什么心态？我的Smythson便签簿，我的衬衣，我的睡袍，甚至多年前的马鞍？

Finally this thesis shows the difference of the performance through the difference of the inditement.

最后则通过前面论述两首作品的创作上的差异体现在演奏处理上的差异。

My thesis is based on the before research to discuss the reason for the difference by comparing the similarities and differences between the inditement and performance of tow music.

本文试图在前人研究的基础上通过比较两首中日钢琴音乐作品在创作，演奏上的异同，进一步探讨产生这种差异的原因，来看中日音乐文化之间的比较。

Discussed From the artistic angle, Nineteen Ancient Poems use unique language manifestation to achieved Gentleman social stratum unique In language inelegance, and use the diversification expressing ways to form a neat form.

从艺术世界的视角来论，《古诗十九首》通过语言的化用、叠字的运用形成了士阶层特有的语言上的"雅"，通过多样化的抒情手法、比兴的运用形成了手法上的"工"。

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。

She gently rebuff ed him, but agreed that they could be friends

她婉言拒绝了，但同意作为朋友相处。

If in the penal farm, you were sure to be criticized.

要是在劳改农场，你等着挨绳子吧！