享乐的

Fad through satisfying wants of market consumption offer more and more the sample of " beauty " and more and more captivating commitment to people. It clears up people's inherent surmounting and resisting linking degree, makes people lose the thought and depth, tries to escape reality in the culture pattern of complanation, indulges in material comfort. This is ruled by ideology of people's culture.

同时它又通过满足市场的消费欲求，利用时尚为人们提供越来越多的"美"的"标本"和越来越诱人的承诺，消解了人们内在的超越维度和反抗维度，使人们失去了思想和深度，在平面化的文化模式中逃避现实，沉溺于无思想的享乐，这便是大众文化的意识形态统治。

Lao Li Night Banquet Series》immitated this design but putting Lao Li at the place of Han Xizai faceing the modern entertainment culture scene even more vulgar and more erosive than that in the times of Han Xizai hand washing replaced by"foot washing", beauties replaced by vulgar girls, wealth and honour replaced by the cheap and the banal. This illustrates the fact that the position and status of the intellectuals has not improved, on the contrary, it is even more embarrassing and hopeless.

老栗夜宴图》模拟的格局，以"老栗"作为现代知识分子的象征，放置在韩熙载的位置，而面对的是比韩熙载时代更低俗、糜烂的现代享乐文化场景，洗手变"洗脚"，美女变俗女，富贵变廉价，对比出中国知识分子的地位和命运，不仅没有改变，反而更尴尬和无奈。

Eustacia, the heroine of The Return of the Native, has received various criticisms. For example, Saturday Reviewer sees Eustacia as "a wayward and impulsive woman". Albert J. Guerard thinks that Eustacia is "the first of Hardy"s irresponsible and mildly neurotic hedonists." Havelock Ellis holds the view that "uperficially she was timid; it was beneath that timidity that her stronger and more rebellious spirit dwelt.

其中《还乡》的女主角游苔沙历来受到了批评家的关注，例如《星期六评论》认为游苔沙是一个"任性、冲动的女人"；A·格拉德说游苔沙是"哈代所塑造的那些缺少责任感而且有点神经质的享乐主义者中的头一个"；H·艾利斯则指出："表面看来，她羞怯，但在这种羞怯下面，却有着坚强、叛逆的精神"。

As the German psychologist Hugo Munsterberg observed, the American "prizes the gold he gets primarily as an indication of his ability.... It is, therefore, fundamentally false to stigmatize the American as a materialist, and to deny his idealism.... The American merchant works for money in exactly the sense that a great painter works for money ─" as a mark of appreciation for his work.

就象德国心理学家休格·爱斯特伯格所指出的，美国人"很看重他挖到的金子，主要是因为金子是他的能力的体现……因此把美国人定义为物质享乐主义者而否认他的理想主义，从根本上就是错误的……美国的商人为钱工作，伟大的画家为钱绘画，意义是完全一样的──"，都是对自己的工作欣赏的标志。

The American entertainment is based on highly developped economic technology, entertainment is purely entertaining. The general public is willingly and passionately immersed in the sensual pleasure, the danger of"amusing ourselves to death"predicted by Portsman is real. The situation in China looks like that in the United States, but in fact, the technical development in China is not as overwelming as that in the States, the political element is still deeply involved in the individual life environment. Simplity of technology and complicity of psychological feelings stand out as main features of Chinese entertainment culture. People are using the forms of entertainment but refuse to be purely entertaining or entertained this is so called"amusing ourselves not to death".

就对大众的普遍影响力而言，美国娱乐文化的基于经济技术高度发达、享乐单一的现实，大众兴高采烈、心甘情愿地沉溺于感官刺激，面临波兹曼担心的&娱乐至死&的危险，而中国的娱乐文化表面上看起来趋同于美国，但一方面，中国的经济技术没有发达到统领一切的地步，另一方面，中国政治因素依然深入的渗透在的个人生存环境中，因此，中国的娱乐文化则更多地集中在技术简单、感受复杂的心理空间中，大众自觉不自觉以娱乐方式，却为不甘成为娱乐工具而抗争，可谓&娱乐不死&。

In 1980s, being dead against the biggest cultural change in the rising American TV epoch- all public words appear in the form of entertainment forming a cultural spirit - the American Neil Portsman wrote《Amusing ourselves to death》, analysing deeply that all the cultural content will be willing dependency to entertainment, with no complainte and even complete silence,'As a result we have become a species which is amusing itself to death', this proved to be true what Huxley said in 《The Beautiful New World》in 1932 'Men lose freedom because of entertainment, we will be destroyed by what we love'.

1980年代，美国人尼尔·波兹曼，针对美国这种一切公众话语都逐渐以娱乐的方式出现，并成为一种文化精神的文化的重大转变，写了《娱乐至死》，透析一切文化内容都将心甘情愿地成为娱乐的附庸，而且毫无怨言，甚至无声无息，&其结果是我们成了一个娱乐至死的物种&，论证了赫胥黎1932年《美丽新世界》中的预言&人们由于享乐失去了自由，我们将毁于我们热爱的东西&，正日益成为当今美国乃至全球的社会现实。

True friendship consists in being mutually useful in offering one's friend good cheer in distress, sympathy in sorrow, advice in trouble, and material help in times of real need...One who has given his friendship to another gladly foregoes selfish pleasures or self-interest for the sake of his friend's happiness, without consciousness of loss or sacrifice, and without counting the cost.

真正的友谊，鼓舞穷苦的人，同情哀伤的人，指点困境中的人，在饥渴时也能伸出扶持的援手……一个人付出了友爱，会心甘地放弃自私的享乐与利益，并不认为自己失去了什么，或者在做出牺牲，并不计算代价，因为他心里盛满了友人的幸福。

And when the evening mist clothes the riverside with poetry, as with a veil, and the poor buildings lose themselves in the dim sky, and the tall chimneys become campanili, and the warehouses are palaces in the night, and the whole city hangs in the heavens, and fairy-land is before us——then the wayfarer hastens home; the working man and the cultured one, the wise man and the one of pleasure, cease to understand, as they have ceased to see, and Nature, who, for once, has sung in tune, sings her exquisite song to the artist alone, her son and her master——her son in that he loves her, her master in that he knows her.

当暗夜迷雾给河滨披上诗般的轻纱薄衣，可怜的建筑在暗淡的天幕下迷失自我，高耸的烟囱变成了钟楼，货栈成了伫立在夜间的宫殿，整座城市游荡在天际，仙境就在眼前---流浪者正朝家的方向疾去；工人与雅士，智者与享乐主义者，不再了解，正如他们已不再对之投以目光。而大自然，曾只为艺术家---自然之子，自然之主---一开金嗓，仙乐悠扬。艺术家作为自然之子，深爱其母；艺术家亦是自然之主，对自然的理解不在话下。

Eustacia, the heroine of The Return of the Native, has received various criticisms. For example, Saturday Reviewer sees Eustacia as "a wayward and impulsive woman". Albert J. Guerard thinks that Eustacia is "the first of Hardy"s irresponsible and mildly neurotic hedonists." Havelock Ellis holds the view that "uperficially she was timid; it was beneath that timidity that her stronger and more rebellious spirit dwelt.

其中《还乡》的女主角游苔沙历来受到了批评家的关注，例如《星期六评论》认为游苔沙是一个&任性、冲动的女人&；A·格拉德说游苔沙是&哈代所塑造的那些缺少责任感而且有点神经质的享乐主义者中的头一个&；H·艾利斯则指出：&表面看来，她羞怯，但在这种羞怯下面，却有着坚强、叛逆的精神&。

All in all, there is still a belief in total depravity, that enjoyment of this life is sin and wickedness, that to be uncomfortable is to be virtuous, and that on the whole man cannot save himself except by a greater power outside.

总而言之，现在还有一种信仰，以为人类是完全堕落的，以为今生的享乐是罪恶的，以为刻苦就是美德，以为在大体上说来，人类除了受一种外来的更伟大的力量所拯救之外，是不能自救的。

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。