主要作品

This paper intends to apply the theory of conversational implicature into the conversations of Roman fever's main characters（Alida﹒Sladea and Grice﹒Ansley）to give a pragmatic analysis , in order to help readers better understand the development of stoy and the main characters, and ultimately comprehend the work's theme.

本文拟将运用会话含义理论对《罗马热》中主要人物（Alida﹒Sladea与Grice﹒Ansley）阿丽达·斯莱德与格丽丝·安斯雷）会话进行语用分析，以帮助读者更好的了解故事情节发展和主要人物，并最终领悟作品主题。

This paper focuses on three selected movies by New Zealand celebrated female director Jane Campion. The films are:"An Angel at My Table","The Piano" and "In the Cut". The aforementioned films are analyzed using feminist film theory.

本文选取了新西兰著名女导演简·坎皮恩的三部代表作品《天使与我同桌》、《钢琴课》、《裸体切割》为主要研究对象，主要运用女性主义电影理论进行分析。

Through the deep-going investigation and superficial analysis to the grotesque phenomenon in some literature works of the world,the paper expounds that grotesqueness is an unfixed notion with consistent changes and provides an initial summary and analysis on the characteristics of aesthetic judgment on grotcsqueness,including the formation principles of abnormality,astonishment mixed with fear and comicality,and the duality of grotesqueness.

曾耀农(1959-)，男，汉族，湖南师范大学文学院教授、博士，主要研究方向文艺学和美学；湖南师范大学文学院中文系，湖南长沙 410081肖莉(1980-)，女，汉族，湖南师范大学文学院学生，主要研究方向文艺学和美学。湖南师范大学文学院中文系，湖南长沙 410081本文通过对中外文学艺术作品中的怪诞现象的探源和浅析，认为怪诞是一个流变的概念。

First of all , it is seen in Zhang Wei"s long writing that continuous changes occurs with the following era contexts which is shown. First, the gradual desalinization of " earth image " on the space," earth " is not only a creation in Zhang Wei"s novel, but the main source of the poesy of its works. It declines after " September fable ", not only indicating Zhang Wei "s decay of poesy of the novel, but also reflecting the disobeyed pross of light appear contemporary China social urbanization and common customs to . Second, the change of " writing subject projection " in the spiritual meaning, Its characteristic displayed by the reduction of image of spokesman as write thought representation .and on the other side represent" person who want more that resist actively " which also shows contemporary intellectual predicament and adjustment of value. Third, in " changeable and separate characteristics in the stylistics ",It changes " epic body " of" Ancient ship "," body not mythical " to " September fable "," pour out body " of" Bai Hui "" Family "," the discipline spreads the body "of Book of other provinces"," lie body " of" Can not recall the hollyhock ". Its constant changes persuing of recreation and sports, has entered into the different book mode and narration of different class gradually too.

首先，张炜的长篇写作中可以看出一种跟随时代语境而不断发生的变化，这表现在：一是空间上的"大地意象"的渐趋淡化，"大地"不但是张炜小说中的一个创造，而且也是其作品的诗意的主要源泉，它在《九月寓言》之后的衰退，不但表明了张炜小说中诗意的衰减，而同时也反照出当代中国社会城市化和世俗化进程的不可违拗；二是精神意义上的"写作主体投影"的变化，其特征主要表现为作为作家思想代言者的"正面的知识者"形象的弱化，代表其另一面的"积极反抗的多欲者"的凸显，这也显示了当代知识分子价值的困境与调整；三是在"文体上的多变与另类化"，由《古船》的"史诗体"，到《九月寓言》的"神话体"，再到《柏慧》、《家族》的"倾诉体"，《外省书》的"纪传体"，《能不忆蜀葵》的"诳语体"，其文体不断求变，也逐渐走入了异书模式和另类叙述。

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。

Chick lit is a literary genre that features books written by women and marketed to young women, especially single, working women in their twenties and thirties. It generally deals with the issues of modern women humorously and lightheartedly. The women featured in these novels may be obsessed with appearance or have a passion for shopping.

"鸡仔文学"指由女性撰写并且主要面向二、三十岁的单身职场女性的文学作品主要通过轻松幽默的方式讨论现代女性关注的话题这一类小说中描绘的女性要么过分注重外表，要么是购物狂Chick lit这个表达在书面中的使用最初见于1988年，当时是大学里对《女腾讯qq伤感个性签名性文学传统》这一课程的俚语表达

"The characterisations are one of the strongest aspects of his writing. And throughout his life he absorbed all the characterisations of the people that he met, and the different personalities that he met, and lots of those were fed back into the novels. And I think that they really appeal still today to people." She thinks that the characterisations, or the different people in the novels, are what make Dickens' novels so special. So his books are far from boring!

强烈的个性是他作品一大特征，他把一生中所遇到一些人物，性格各异的特征融入到自己的作品中，这对当今的读者仍然非常具有吸引力，他们认为书中不同性格的各类人群是吸引他们主要原因，所有他的书绝对不会让人感到无聊。

Until now the research of Chinese Southern Opera has laid emphasis on its thought, version and position in opera history, however, we neglected the analyses of its tonal pattern and rhyme scheme.

目前为止，对南戏作品的研究，主要侧重于作品思想·版本·戏曲史上的地位等方面，对南戏曲调的内在曲律则缺乏系统的研究。

The elements author , editor , and respStmt are the default members of the model.respLike class, a subclass of the model.biblPart class to which the constituents of the bibl element belong.

title 包含任何种类作品的完整题名。author 在书目参照中，包含一件作品的作者姓名，无论是个人或是团体性质；这也是书目项目责任归属的主要陈述。

There is a separate exhibition hall for Rothko at Tate in London and I went there several times when I was in UK.

在伦敦的泰特美术馆中有罗斯科作品的单独展室，我在伦敦逗留期间去过好几次，主要就是看他的作品。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。