主要作品

Li Jikai's attention to his self and expression of it forms the main characteristics of his work.

李继开对自我的关注和表现构成了其作品的主要特征。

Except the foreword, this paper is divided into four chpaters:Chapter One: the common vivid featrues of dramatic personae in the phyletic biography of people in Shiji. The charater accords with the described methods, it has the obvious feature of kindred, It leans to the type of the figural creation in our country's later gerneration novels.Chapter Tw phyletic biography of people not extrudes the common featrue of drmatic personae but also emphersizes the personality description. The figural creation turns personal description from typical description gradually in the later generation novels, although the same typical charaters have the differnt lookings.Chapter Three: phyletic biography of people stands out the charaters with the typical events, the same charater can appears the differnt phyletic biography of people, it shows the differnt features (This is the commuteritive incarnate in Shiji). The later generation novels figure the charaters with their action, the same character lean to the differnt points, they show their differnt characteristics.Chapter Four: phyletic biography of people has the multiform modality, it includes paratactic description, coherend interclude, cascade rising and so on. The later generation novels use for reference the paratactic in the arrange of polt structure.

除引言外，全文分为四部分：第一章：《史记》各&类传&中&传主&的共同特征鲜明，人物选择符合以类相从、连类相及的方法，&类&的特色极为明显；我国后世小说中人物形象塑造呈现出类型化的倾向；第二章：&类传&在突出传主共同特征的基础上也注重人物的个性描写，传中人物在符合&类属&的前提下自身的特色同时显现出来：后世小说中人物形象塑造逐步由类型化向个性化发展，即便是同一群体的人物也具有各自不同的面目；第三章：&类传&选取传中人物的典型事件来突出人物形象；同一人物可以进入不同的类传中，表现出不同的特性(这是《史记》全书人物塑造上的&互现法&的典型体现)；后世小说中注重选择具有行动性特征的细节来塑造人物形象；同一人物在不同作品中有不同的侧重，呈现出不同的面目；第四章：&类传&结构安排的多样形式，主要有并列分叙、联贯穿插、层叠上升等几种形式；后世小说在情节结构安排上对&类传&的借鉴。

The influence of Takashi Murakami and his cohort of Kaikai Kiki artists, whose specialty is flat, anime-inspired characters, is unavoidable and remarkably grounded in everyday life, even when the artworks depict war or outer space.

他的作品主要集中在描绘战争与外太空，并擅长从日常生活中寻找创造灵感，绘制扁平的卡通形象。

It is a serious mistake in the 20 century's research about western aesthetics that many researchers regard Gadamer's Hermeneutics-Aesthetics as reader-centered theory literarily.

20世纪的西方文艺美学有一种由作者、作品中心论向读者中心论转移的趋势。这种轨迹主要在读者一反应批评和接受美学身上得到体现。

Its subject(to use Maynard Macks categories)is "life-as-spectacle," for readers, diverted by its various incidents,observe its hero Odysseus primarily from without;the tragic Iliad,however,presents "life-as-experience":readers are asked to identify with the mind of Achilles,whose motivations render him a not particularly likable hero.

迈克的两个分类范畴的话〕是&人生作为外部景象&，因为读者的注意力被作品那形形色色的事件所分散，主要是从外部来观察其主人公奥德修斯的；然而，富于悲剧色彩的《伊利亚特》所表现的则是&人生作为内心体验&：读者被要求与阿基琉斯的心灵产生共鸣，而其行为动机却致使他变作一个并非特别惹人喜爱的主人公。

Its subject（to use Maynard Macks categories）is "life-as-spectacle," for readers, diverted by its various incidents,observe its hero Odysseus primarily from without;the tragic Iliad,however,presents "life-as-experience":readers are asked to identify with the mind of Achilles,whose motivations render him a not particularly likable hero.

其主题〔若借鉴梅纳德。迈克的两个分类范畴的话〕是&人生作为外部景象&，因为读者的注意力被作品那形形色色的事件所分散，主要是从外部来观察其主人公奥德修斯的；然而，富于悲剧色彩的《伊利亚特》所表现的则是&人生作为内心体验&：读者被要求与阿基琉斯的心灵产生共鸣，而其行为动机却致使他变作一个并非特别惹人喜爱的主人公。

Using the maquettes of leading Beijing devleopment projects such as SOHO China as her backdrop, she creates dramatic images such as two cars colliding on the highway and where a tiny lady -in-red waves, as if to summon the police.

他的新作最主要的特征是，杨千用机械性的感应器和电机来控制作品的视觉观赏节奏，即当观众靠近画面的时候，感应器感应到人的存在，于是就启动电机让画动起来。

As for narrator's reliability, quite a lot of unreliable narrators appears in the fictions of this period.

在叙述者的可靠性方面，五四小说开始出现了相当多的不可靠叙述，另一方而也存在可靠的叙述者，这主要体现在以抒情为主旨的一些作品中。

The database provides bibliographies on over 800 British women writers, as well as related material on literary, social and historical events, male writers and non-British women writers.

主要收录早期到当代有关大不列颠女性作家传记与评论资料，另也收录男性作家和非英国妇女作家的作品。

Lu Xun\'s idea and its relation to art stress on the explanation and analysis on the referencese ofthree visual levels:"visualised"thinking perspective and metaphor,public vision and public graphicvision,and pure art work images.

鲁迅的思想与艺术的关系，主要侧重阐述和分析三个视觉层次的资料：&视觉化&的思想视角和隐喻、公共景观和大众图像的视觉、纯艺术作品的图像。

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。