人物描写

Yao appeared in the world are ordinary people, it is in these ordinary people in his description of the nature of good and beauty, ugliness and evil.

在路遥的世界中出现的都是平凡的人物，这是在这些平凡的人物里他描写着人性中的善与美，丑与恶。

Water margin,that a work dedicated to masculine has always been highly appreciated.yet,it is beyond any doubt that the book presents a biased and even unjust feature of the feminine .there are few women personages in water margin which can be divided into two kinds briefly: namely "lady of easy virtue" and "heroine".novel go on two extremes overly that women'figure was denied impersonal role maid image mould either "bad" or reach "manlike " so that they cant cross to two description of woman these because the writer was intended or involuntary to describe them these.consequently the women' figure maked untrue exceedingly as to the lady of easy virtue write it to the limit excessively ruthlessly poisonously ; as for heroine write its walk chivalrous and loyal to the limit that the woman wasn't defeated by men.the female extreme image was pointed out that the intention of author come from the influence of the super male consciousness to a certain extent and it is inevitability because of masculine being in charge of linguistical power ,in fact, the appearance of women was just only minor role in order that the hero world need to regard man as the centre too.in a word womens destiny in water margin is a miserable foregone!

水浒传》是1部以描写男性英雄为主的名著，历来受到较高评价。然而，作品在女性形象塑造时存在的偏颇甚至不公正却是毋庸置疑的。《水浒传》中的女性人物屈指可数，主要可分为两大类：1是所谓的荡妇恶婆；2是所谓女英雄。作家在对这两类型女性的描写时，都因作者有意或无意的女性意识而走向极端化，实际上是走上了两个无法交汇的极端，使女性形象的塑造过于偏激，不是"淫恶"到极端，就是"男性化"到极点，写淫妇恶婆，写尽其淫，狠，毒；写女英雄，则写尽其行侠仗义，巾帼不让须眉。这种极端化的女性角色定位，既是作者男权意识的自然反映，又是男权社会男性话语权的必然呈现，说白了，出现在《水浒传》的女性不过是点缀和突出男性的生活，是为表现父权制男性英雄世界服务的。

In terms of concrete fantasy techniques and fantasy details description, techniques used in One Hundred Years of Solitude are obviously shown in his novels no matter the appearance and disappearance of devils, setting of odd people, fairies and sagas or prophecy, ridiculous description and hyping misshape.

其次，扎西达娃后期的魔幻小说同样营造出了一个魔幻与现实交融的世界，就具体魔幻手法和魔幻细节描写而言，无论是鬼魂出没、离奇人物的设置、神话与传说，还是预言和预兆、荒诞描写和夸张变形，都清晰地留有《百年孤独》中同种手法的影子。

At last, from the angle of creation style, the revealment of language changeable in mood, the construction of behavior mode of the the "destruction" and "rivival" persons, the phenomenon of "dreanlandland" and "illusion", all above these show the authors contradiction.

第三，从创作风格上来看，情绪化语言的流露、"毁灭"和"复活"的人物行为模式的建构及"梦境"与"幻觉"的人物潜意识描写中的"异质"现象，从另一个角度显示了作者创作思想上的矛盾所在。

His paintings were done in a square composition which can be traced back to the squared paintings of the Song Dynasty. His works mostly depict beautiful traditional Chinese women, opera figures, scenes of fishery, nude women, still lives or landscapes with lined houses. His paintings exude an impression of sorrowfulness, loneliness emptiness and sentimentalism.

他的画正方构图，出自"宋小品"，作品多描写仕女人物、京剧人物、渔村风情和女性人体以及各类静物画和有房子的风景画，有一种悲凉、孤寂、空旷、抒情的风格。

Thirdly, scar literature breaks the visual figure criterion: the common people come forth as front and focus figure; not only traditional methods but some modernism methods such as stream of consciousness, superrealism and free-association are applied to represent mentality; a set of complex characters are coming up with complex composing and movement.

第三，"伤痕文学"打破了以往形象塑造的规范，出现了一些新的特点：普通人物作为正面形象大量涌现，成为文学表现的焦点；从外部视角开始转向内在视角，不仅使用传统的心理描写方法，而且开始使用意识流、超现实、自由联想等现代主义的表现手法；出现了一批具有复杂性格的人物形象，揭示了他们性格构成的复杂性和性格运动。

First, they focus on the plain life of common people; second, they aim at reflecting the feelings and lives of some "small figures"---the humble people living in the understratum of the society, true, unvarnished, though not elegant and lofty.

在他们身上，几乎没有缺点。"新写实小说"则不然，首先在题材上，关注人们的日常生活，琐碎、平凡，带有"原生态"的特色。底层百姓的饮食起居、喜怒哀乐，都成为描写对象，它消解了崇高意义，使文学从天上走向人间。在人物塑造上，"新写实小说"重在刻画"小人物"，甚至是卑微低贱的底层人物，写他们的感情，不论是否高尚，但却是最真实、最质朴的人生体验。

Water margin,that a work dedicated to masculine has always been highly appreciated.yet,it is beyond any doubt that the book presents a biased and even unjust feature of the feminine .there are few women personages in water margin which can be divided into two kinds briefly: namely "lady of easy virtue" and "heroine".novel go on two extremes overly that women'figure was denied impersonal role maid image mould either "bad" or reach "manlike " so that they cant cross to two description of woman these because the writer was intended or involuntary to describe them these.consequently the women' figure maked untrue exceedingly as to the lady of easy virtue write it to the limit excessively ruthlessly poisonously ; as for heroine write its walk chivalrous and loyal to the limit that the woman wasn't defeated by men.the female extreme image was pointed out that the intention of author come from the influence of the super male consciousness to a certain extent and it is inevitability because of masculine being in charge of linguistical power ,in fact, the appearance of women was just only minor role in order that the hero world need to regard man as the centre too.in a word womens destiny in water margin is a miserable foregone!

水浒传》是1部以描写男性英雄为主的名著，历来受到较高评价。然而，作品在女性形象塑造时存在的偏颇甚至不公正却是毋庸置疑的。《水浒传》中的女性人物屈指可数，主要可分为两大类：1是所谓的荡妇恶婆；2是所谓女英雄。作家在对这两类型女性的描写时，都因作者有意或无意的女性意识而走向极端化，实际上是走上了两个无法交汇的极端，使女性形象的塑造过于偏激，不是&淫恶&到极端，就是&男性化&到极点，写淫妇恶婆，写尽其淫，狠，毒；写女英雄，则写尽其行侠仗义，巾帼不让须眉。这种极端化的女性角色定位，既是作者男权意识的自然反映，又是男权社会男性话语权的必然呈现，说白了，出现在《水浒传》的女性不过是点缀和突出男性的生活，是为表现父权制男性英雄世界服务的。

After a break, writing a life of Edward Fitzgerald, she has returned to what she knows—and does—best, teasing out the bonds of love, hate and pretend indifference that bind siblings, no matter what their historical pedigree, into a cat's cradle of consequence.

在沉寂了一个阶段之后，她又写了一本有关爱德华菲兹杰拉德的生平的书，从这本书中，读者可以看出蒂利亚德又回到了自己的老本行----在这方面她的确很有天赋：不管所描写的人物在历史上是何方神圣，不管人物之间的关系是何等的错综复杂，剪不断，理还乱，蒂利亚德都能从中准确地把握到他们之间爱的纽带，仇恨，和言不由衷的冷漠。

Realism concentrates on the representation of the external reality of certain social group, featured by chronological order, omniscient point of view, closed ending, external characterization and so on; modernisms focus shifts to the consciousness and subconsciousness of mankind, mythical archetype, stream of conscious, anti-hero, open ending have been used frequently by modernists; postmodernism serves as a break as well ascontinuity of modernism, similar with modernism, it rebels against any pre-established rules and pays attention to innovations in form, but it emphasizes absurdity, playfulness and the crisis of representation in postmodern society, the blurring of high and low literature, collage, parody are the favorites of postmodernist.

现实主义侧重对社会某一群体的现实生活的反映，一般带有明确的时空概念，严密的情节，常用的叙事角度为全知视角，人物塑造上以外部描写为主；现代主义小说多表现人物内在心理的变化，关注人的意识及潜意识，神话原形、意识流、反英雄、开放式结尾为现代主义小说常用手法；后现代主义小说继承了现代主义对传统的反叛、形式上的革新等原则，但其作品强调后工业社会的荒诞性、游戏性及表征危机，有意识地混淆了高雅文学与通俗文学的界限，拼贴画、戏仿在后现代作品中应用广泛。

With Death guitarist Schuldiner adopting vocal duties, the band made a major impact on the scene.

随着死亡的吉他手Schuldiner接受主唱的职务，乐队在现实中树立了重要的影响。

But he could still end up breakfasting on Swiss-government issue muesli because all six are accused of nicking around 45 million pounds they should have paid to FIFA.

不过他最后仍有可能沦为瑞士政府&议事餐桌&上的一道早餐，因为这所有六个人都被指控把本应支付给国际足联的大约4500万英镑骗了个精光。