主题的

This paper discusses the eight ways in which artistic invention is made in biography,concerning the subject matter,the biographee s personality,the textual structure,the reasonable imagination and fiction,the description of details ,the mental activities,the design of dialogues,and the use of language skills.

本文从主题的确立、人物特点的把握、传记的布局谋篇、合理的想象和虚构、细节描写、心理活动描写、对话语言的设计、语言技巧的运用等八个方面全面论述了传记文学进行艺术加工的方法，认为传记文学在坚持真实性的前提下，是可以进行艺术加工的。

In his first period works as if you go through a violence and fearful world, that also according to the prevalent style of writing in the pioneer literature age at that time. He abandoned the common sense and building a widely different world from the common sense experience, we take effort to his brimless tribulation in his novels and research into his core of his described topic, to analyze the factor of violence in his works, at the same time affirm this expression, it also describe the nonplus to this expression.

在他的前期小说中仿佛走进了一个暴力和恶的世界，这也是当时先锋文学普遍的文风所向，他背弃了常识，构筑了一个与常识经验迥然不同的世界，我们从余华小说中无边的苦难着手，来探究他所描述的主题的内核，在分析他作品中的"暴力"因素时，在肯定这种表现手法的同时，也表达了对这种手法的困惑。

Classical heaviness and an old book store in a certain bystreet within Paris where a familiar relics of poems are read our longing for the nature positioned in memories of our past is expressed in peace and freedom just like stop of flows of times.materials of motif introduced from the nature,which are felt more comfortable under warm sunrays in afternoon,are similar to unique sturdiness and shapelessness and provide convenience together with neutral colors.

在巴黎街道一个有着拿破仑时期典型装饰的老书店里面自在而平静的读着熟悉而久远的诗歌，它勾起了我们记忆深处对大自然的渴望，如同淅淅沥沥流过的时间之水。周围那些以大自然为主题的建筑物在午后温暖的阳光下显得更加生动，虽然他们笨拙而造型感不强烈，却为人们提供了方便和良好的视觉享受。

Based on the black circus, the study aims to understand the self-reflection within the creative process, by analyzing the related literatures and various works. After determining the prankish intention, four series of works are sub-divided in the study: unreasonable fairy tales, the clownery of a famous brand, funny cartoons on TV or in film and the overwhelming of ingrained responses to classical painting.

藉由此创作过程、相关文献探讨、与作品呈现的分析研究下，在恶搞文化下的自我省思本创作以「黑色马戏团」为中心，探讨相关的恶搞文化，进而发展「不合常理的童话故事」、「知名品牌的小丑化」、「影视卡通的戏谑滑稽」、「经典名画的颠覆性」为主题的四个系列创作作品。

Li Rui's narratives of Cultural Revolution adopt neither a moralistic stance nor a posture of"refusing to regret"assumed by some intellectual youth. Rather, he offers a penetrating reflection of Cultural Revolution from the triple levels of mass ignorance and fervor, intellectual unreflectiveness, and the modern characteristics of revolutionary ideology. His narration of the complex observation, interrogation, denial, co-optation, and mythologization between intellectuals and the mass deepens the theme of alienation since May Fourth movement.

李锐的"文革"叙事不是道德化的，也不是知青式的"拒绝忏悔"，而是从民间的愚昧和迷狂、知识分子的非反思性、"文革"意识形态的现代特征三个层面反思"文革"，达到了相当的深度，他对知识分子与民间复杂的观看、质疑、拒绝、收编、神化等关系的叙述，是对五四以来的隔膜主题的深化。

There are three features can be summed up from it: Firstly, all of the three chapters follow the tradition style. Secondly, the topic of each piece originates from the abundant folk music collection. Thirdly, concertina, the classic folk musical instrument, is used in the works.

作品在材料使用上具有一定的层次性与逻辑性，结构布局和创作细节上都比较详尽的体现出作曲家传统创作的特点：1、作品的三个乐章都具有传统结构的特征；2、每个音乐主题的创作，都呈现出俄罗斯丰富的传统民间音乐素材；3、作品的创作手法赋予了巴扬手风琴这一俄罗斯传统民间乐器发挥和表现的空间。

Kafka's metamorphosis is a wonderful piece describing alienation in modern western literature. This work describes possible alienation in modern capitalism via the heroine Grego who evolved to become a Cockroach. This transformation from human to non human shows the spiritual crisis of modern westerners.

卡夫卡的《变形记》是西方现代主义文学中描写人的异化主题的杰作，作品通过主人公格里高尔变成一只大甲虫的荒诞故事表现了现代资本主义普遍存在的异化现象，这种人与物关系的异化，使人变成"非人"，深刻的揭示了现代西方人的精神危机。

So much in this place do men live by pain that my friendship with you, in the way through which I am forced to remember it, appears to me always as a prelude consonant with those varying modes of anguish which each day I have to realise; nay more, to necessitate them even ; as though my life, whatever it had seemed to myself and to others, had all the while been a real Symphony of Sorrow, passing through its rhythmically-linked movements to its certain resolution, with that inevitableness that in Art characterises the treatment of every great theme.

这里的人们是如此的苦中度日，所以我同你的友谊，照我那样被迫去记住的样子，总显得像是一支序曲，与眼前变换着的痛苦一脉相承。这些痛苦每一天我都得体会领悟；不仅如此，甚至得靠它们度日；似乎我的生活，不管在我本人还是在别人眼里曾经是什么样子，从来就是一部真正的悲怆交响曲，一个乐章一个乐章有节奏地推向其必然的结局，一切是那样的必然，简直就是艺术上处理每个伟大主题的典型手法。

So much in this place do men live by pain that my friendship with you, in the way through which I am forced to remember it, appears to me always as a prelude consonant with those varying modes of anguish which each day I have to realise; nay more, to necessitate them even[18b]; as though my life, whatever it had seemed to myself and to others, had all the while been a real Symphony of Sorrow, passing through its rhythmically-linked movements to its certain resolution, with that inevitableness that in Art characterises the treatment of every great theme.

这里的人们是如此的苦中度日，所以我同你的友谊，照我那样被迫去记住的样子，总显得像是一支序曲，与眼前变换着的痛苦一脉相承。这些痛苦每一天我都得体会领悟；不仅如此，甚至得靠它们度日[18b]；似乎我的生活，不管在我本人还是在别人眼里曾经是什么样子，从来就是一部真正的悲怆交响曲，一个乐章一个乐章有节奏地推向其必然的结局，一切是那样的必然，简直就是艺术上处理每个伟大主题的典型手法。

Ritualistic death in Sologub's novels is of the same ontological importance. It is first a symbol of destruction and power lost and regained;and secondly, death, as love is in Sologub's eyes, is not only a transition to freedom, eternity, and infiniteness, but a synonym of creating new life.

通过对索洛古勃小说中仪式化死亡的主题的分析，我们可以得出结论，死在索洛古勃的宗教神话体系中同样具有本体论的地位，它首先具有破坏和权力交替的象征意义；其次，索洛古勃心目中的"死"同"爱"一样，是追求自由、永恒与无限的手段，是创造新天地的工具。

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。