享乐的

His blase indifference; a petulent blase air; the bored gaze of the successful film star.

对享乐的冷淡；暴躁的无聊的神情；对那个成功的电影明星的无聊的凝视。

But if he treats this period of freedom from the need of actual labor as a period, not of preparation, but of mere enjoyment, even though perhaps not of vicious enjoyment, he shows that he is simply a cumberer on the earth's surface; and he surely unfits himself to hold his own place with his fellows, if the need to do so should again arise.

但是，如果他将这段不需从事实际工作的自由时期，不用于准备，而仅仅是用于享乐（尽管他所从事的或许并非邪恶的享乐），那就表明了他只是地球表面上的一个赘疣；而且他肯定无法在同僚之中维持自己的地位，如果那种需要再度出现的话。

Stephen was an unabashed hedonist indulging his urges with lavish hedonist, meals and multiple sexual partners.

史蒂芬是个不知道羞耻的享乐主义者享乐主义者，沉溺于享乐主义者大吃大喝和多个性伙伴中。

The entertaining elements in his works should be esteemed as the reflection of hedonism in China now. However, it is not the same as the western entertainments. Though Qu's deep observation of society, he narrates the nonsense and the inanity of hedonism, which is his real melancholy comprehension of history.

瞿广慈所呈现的娱乐性确实应被视为中国当下的安逸享乐的反射，但瞿广慈的「娱乐性」并非如西方固有的「娱乐性」般欢乐－瞿广慈经过自我深度、社会深度的理解和观察，将享乐主义后不可摆脱的空虚感「揶揄」的叙事口吻道出，是艺术家对于历史的真实理解的忧郁。

When consideration (with the etymological sense of seeing the stars together as significant constellation) treats the image as a detached being, makes it the object of an immediate pleasure, it no longer has anything to do with the reflection, however oneiric, of an identity; it torments and enthralls itself with a vision which is not morphological but organic.

考虑到语源学意义上将在一起的星星看做星座，当我的思索将图片视为分离的存在，把它们视为当下享乐的对象时，它与某一种身份的回忆就没有了关系，无论那是怎样的梦幻。它用一种想象折磨自身，同时又使自身着迷；它并非形态学上的（我从来看起来不像我自己）而是器官性质的。

Their existing is out of our mind in the past. In their composition, you cannot find historical burden and depressed spirit which were found easily in fore generations rather than see unconstraint way in the aspect of existing and writing.Contemporarily, their novels also had deep sorrow which was not fit for their ages, and it could become a proof that they also would not be regarded as gangsters who only knew to seek for enjoyment, and they also wanted to look for one new life and resources of thought.

他们是我们以前不曾在意的一种存在，在他们的写作中，找不到前几代人的历史的负重与精神压抑，我们看到的，是无拘无束、自由自在的生存与书写的方式，同时，他们的小说也有与他们的年龄不太相称的伤感和沉痛，这证明他们也不愿意只做享乐的群氓，他们也想寻找新的生活和思想资源。

It suggests therefore that people should follow their instinct and"man-as-consumer considers the experience of pleasure an obligation, like an enterprise of pleasure and satisfaction; one is obliged to be happy, to be in love, to be adulating/adulated, seducing/seduced, participating, euphoric, and dynamic"Baudrillard believes that the ideology of consumption is"presented under the guise of gratification, of a facilitated access to affluence, of a hedonistic mentality, and of'freedom from the old taboos of thrift" The Titan is Dreiser's representation and encouragement of hedonism and consumerism Here, women become a subject consuming as well as an object being consumed In The Financier, we see what is promised for Cowperwood is"a world of mansions, carriages, jewels, beauty, a vast metropolis outraged by the power of one man, a great State seething with indignation over a force it could not control, vast halls of priceless pictures, a palace unrivaled for its magnificence, a whole world reading with wonder, at times, of a given name"Throughout The Trilogy, Cowperwood indulges in his pursuit of women, mansions and art objects I think Dreiser's representation of the hero's pursuit of women, mansions, objects of art indicates the inherent ideology--consumerism.

消费文化旨在诱导或鼓励人们摆阔性的挥霍浪费。这种文化所倡导的道德标准是，有钱建豪宅，买昂贵服装，吸引和占有最美的女人在道德上就是正确，有价值的。这时的物品就象鲍德里拉所说的那样已经成为地位的象征，而不是仅仅满足基本的需要。因此，人们应该听从本能的驱使，&作为消费者的人将享乐看成是自己的义务，享乐和满足就象是一种事业&。鲍德里拉指出消费意识形态的欺骗性在于其&倡导的满足、富裕、享乐和'冲破节检的旧樊篱'&。德莱塞在《巨人》中正是表现了这种消费意识形态。妇女、服装和豪宅已成为地位和权力的象征。《金融家》所预示给柯帕乌的是&公寓、四轮马车、珠宝和美物；整个大都会都要被一个人的权力所激怒；一个伟大的国家也要因为一种不能控制的力量而愤怒填膺；充满了无价珍宝的大厅；无与伦比的豪华宫殿；整个世界都惊叹地阅读着一个熟悉的名字&。当然，在整部小说里我们很少发现柯帕乌有抽烟饮酒的嗜好，但他却始终沉溺于性乱交之中。

Mr Ashbery's approach, as evinced by his poetry, is more that of a gentle shrug of amused bewilderment.

Mr Ashbery 的处理方法是，如他的诗中所表明的一样，更多的是对享乐的迷茫的优雅的嘲笑。

"Hedonistic" may not seem like a term that applies particularly well to the average serious gamer, but it is nonetheless worth considering whether infusing social problems into environments more typically associated with pleasure trivializes serious issues, perhaps diminishing our sympathy for them in the real world.

&享乐&的说法似乎不是特别适合一般的严肃游戏，虽然如此，在具有快乐特色的情境中加入社会问题，是否会削弱问题的严重性值得考虑，也许会逐渐削弱我们在现实世界中对他们的同情。

Pleasure is the rock which most young people split upon: they launch out with crowded sails in quest of it, but without a compass to direct their course, or reason sufficient to steer the vessel; for want of which, pain and shame, instead of pleasure, are the returns of their voyage.

享乐是使许多年轻人撞得头破血流的暗礁：他们启航去寻求享乐时让帆鼓胀得满满的，但却没有指南针指引航向，或没有足够的理智把握好舵，其结果是他们获得了痛苦与羞愧而非享乐。

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。