作家

The art of fiction, as Jane Austen knew it, declined from her through Scott, and Bulwer, and Dickens, and Charlotte Bronte, and Thackeray, and even George Eliot, because the mania of romanticism had seized upon all Europe, and these great writers could not escape the taint of their time; but it has shown few signs of recovery in England, because English criticism, in the presence of the Continental masterpieces, has continued provincial and special and personal, and has expressed a love and a hate which had to do with the quality of the artist rather than the character of his work.

jane的小说技巧，在她之后就开始没落了，Scott， and Bulwer， and Dickens， and Charlotte Bronte， and Thackeray， and even George Eliot(这些都是Jane之后的作家，你可以在金山上查到详细的资料)都没怎么采用她的风格，因为欧洲人骨子里有着狂热的浪漫主义，而这些伟大的作家也没有能够摆脱他们时代的感染。在英国，也没有什么恢复的迹象，面对着欧洲大陆上的伟大作品，英国的评论依然本土化，特殊化，个人化，他们对于作家表现出了强烈的爱，憎，而不是对于他们的作品人物。

This article chooses the most prevailing authors as object from France, Britain, Germany, and Russia, including Jean-Jacques Rousseau, the Sentimentalism in Britain, William Wordsworth, Thomas Hardy,"The Yellow Book" Writers＆Ernest Dowson, Johann Wolfgang von Goethe, the Romanticism in Germany, Theodor Storm, Rudolph lindau, Ivan Sergeyevich Turgenev. In order to expound content arising and influence from European literature, this article demonstrates Yu Da-fu's preference to them, the factual relationship between Yu Da-fu and their productions, the choosing and accepting for their creativity style, the representation of sentiment in his creativity, and the guidance to his aesthetics and creativity from European authors and creations……Meanwhile, it is indicated that Yu Da-fu's sentiment is not simply duplication of European literature, but had its unique characters.

对郁达夫创作的感伤风格构成影响的欧洲作家有很多，本文着重选取最为明显的四国——法国、英国、德国与俄国的一些代表性作家作为论述对象，包括卢梭、英国感伤主义、华兹华斯、哈代、"黄面志"作家群及道森、歌德、德国浪漫派、施笃姆、林道、屠格涅夫，论证了郁达夫对他们的偏爱，郁达夫与他们的作品之间发生的事实联系，郁达夫对他们的创作风格的选择和接受，郁达夫的感伤风格在创作中的表现，欧洲作家作品如何指引郁达夫的审美与创作……由此得出本文的主要结论：郁达夫创作的感伤风格深受欧洲文学的影响。

Firsdy, an analysis is made on how left-wing writers defined female ideology in their film making through ideological transformation of "modem" pop culture. Secondly, a conclusion is made that left-wing writers would take the subversion of the existing social system as a final solution to all social problems by exploring why "prostitute" subject prevailed at the then times and analyzing its historical evolving process and revealing the characteristics of prostitute being both exposer and salvation. In addition, the traditional effects on left-wing writers in terms of female are available in this chapter.

首先分析了左翼作家在电影创作中通过对"摩登"的流行文化意义的意识形态改造来完成对女性的意识形态规训过程，之后，通过对"娼妓"题材在本时期流行原因的探索、同类题材的历史演变过程的分析和左翼电影中娼妓作为暴露和拯救双重承受者的身份这一特点的揭示，得出了左翼作家将对现行社会制度的颠覆作为一切社会问题的最终解决方案的结论，同时指出了左翼作家在妇女问题上所受的传统的影响。

His literary idea is also embodied in his comments on classic writers. Pushkin and Gogol, generally believed to be realistic writers, are considered to be nonrealistic by Nabokov, who has established the reliable literary traditions for his creation.

纳博科夫的文学观念也反映在他对经典作家的论述之中，通过将普希金、果戈理等普遍认为的现实主义作家解释为非现实主义的作家，纳博科夫为他的艺术创造确立了可以依赖的文学传统。

I am twenty-two blocks from where Rudolph Valentino lay in state, eight blocks from where Nathan Hale was executed, five blocks from the publisher's office where Ernest Hemingway hit Max Eastman on the nose, four miles from where Walt Whitman sat sweating out editorials for the Brooklyn Eagle, thirty-four blocks from the street Willa Cather lived in when she came to New York to write books about Nebraska, one block from where Marceline used to clown on the boards of the Hippodrome, thirty-six blocks from the spot where the historian Joe Gould kicked a radio to pieces in full view of the public, thirteen blocks from where Harry Thaw shot Stanford White, five blocks from where I used to usher at the Metropolitan Opera and only 112 blocks from the spot where Clarence Day the elder was washed of his sins in the Church of the Epiphany (I could continue this list indefinitely); and for that matter I am probably occupying the very room that any number of exalted and somewise memorable characters sat in, some of them on hot, breathless afternoons, lonely and private and full of their own sense of emanations from without.

黑尔就义在8个街区之外，5个街区之外的出版社办公室中厄内斯特？海明威(1899-1961，美国著名作家)曾挥拳击中马科斯？伊斯特曼（海明威同时代美国政治家）的鼻子，在4英里外瓦尔特？惠特曼(1819-1892，美国诗人)曾奋力为《鹰报》撰写社论，34个街区之外是威拉？凯瑟(1873-1947，美国作家)在纽约为内布拉斯加拓荒者著书立传时居住的街道，玛瑟琳曾经常在一个街区之外的马戏场扮演小丑，36个街区之外是历史学家乔高德在大庭广众下踢烂收音机的地方，哈里？福射在13个街区之外杀了斯坦福？怀特（1906年），5个街区之外是我曾做引座员的大都会歌剧院，而在112个街区之外老克拉伦斯？戴(1874-1935，美国作家)在主现节教堂洗去他的罪过；也因而，我此刻置身的房间可能迎接过无数显赫人物，一些人是在令人窒息的炎热下午到来，孤独而隐退，散发着莫名的自我。

The third century gives us (1) the Alexandrian writers of the catechetical school,(2) the writers of Asia Minor and (3) Palestine, and the first Western writers,(4) at Rome, Hippolytus, and Novatian,(5) the great African writers, and a few others.

二，三世纪赋予我们的（ 1 ）亚历山大作家的catechetical学校，（ 2 ）笔者在小亚细亚及（ 3 ）巴勒斯坦和第一位西方作家，（ 4 ），在罗马， hippolytus和诺瓦蒂安，（ 5 ）伟大的非洲作家，以及其他几个。

From May 4th Movement of 1919 to the 1920s, sex love narrations in Chinese novels were rather an enlightenment and liberation in that particular era with four characteristics. Firstly, sexual desire was endowed with rationality with regard to liberation of human nature and mutual love. Secondly, with an epochal concern for a stronger and superior race, greater attention was paid to sexual parties concerned, mainly physically. Thirdly, new ethics on sex were promoted in that personal freedom on sex love was emphasized and sex love became an important way of self-fulfillment. Therefore, independence of sex love was advocated and the scope of sex love was also widened. Fourthly, the sex consciousness of this period had the mixed features of the past and the contemporary. Sex love narrations in the 1930s and 1940s showed a further exploration on the theme of human nature. First of all, sex was restored to a kind of desire. ShenCongwen probed the importance of harmonious sex love to a sound personality and Shi Zhecunrevealed that sexual inhibition could lead to the distortion, even frenzy of human nature. Bothexplored the influence and functions of sexual desire as human nature upon human personality,giving prominence to the irresistibleness of sexual desire and the significance of sexual desire asa motive. Then, human bodies driven by sexual desire were described and given greater attentionto. Next, ethics on sex were deconstructed either by Shen Congwen who opposed man-madeethics with law of nature and the School of New Sensation who replaced traditional ethics on sexwith exchange rules in consumption, or by Shi Zhecun who spared no efforts in representing thecomplete failure of social rules, including ethics on sex, due to the impact from sexual desire.The direct effect was a paleness of the ethical binding force on sex. Last, sex consciousness inthe works of female writers emerged. In the early works of Ding Ling, the sexual desire of thefemale is no longer a ramification of emotion but an independent one. In addition, in the sex lovenarrations of other female writers, such as Mei Niang, strong self-consciousness on the socialstatus of the female is also reflected. Sex love narrations in the late 1970s and early 1980s wereactually a re-enlightenment in the spirit of humanism, whose major features include humanisticlegitimation of sex love within the boundary of ethics, a blend of sex love narrations withnational concepts and national myths as well as the aesthetic, poetic descriptions of humanbodies etc. In the middle and late 1980s, sex love narrations entered a stage of exploration forpluralism. First, by restoration of sexual desire, writers of this era restored human nature, thevery original state of human being. Different emphasis and tendencies could be seen in differentwriters: looking at sex love dialectically and trying to describe its creative as well as destructivecharacteristics; connecting sex love with violence and trying to reveal the evil side of humannature through it; emphasizing the creativeness of sex love especially in the heritage of"wildness".

从"五四"到20世纪20年代，中国小说的性爱叙事是一种处在时代夹缝中的启蒙和解放，其所表现出来的特点，一是正面赋予性欲望以合理性，这种合理性是在人性解放和爱情前提下获得的；二是在强种育种的时代焦虑影响下小说性爱叙事表现出对物质身体的关注，其焦点主要在体格方面；三是树立起新的性伦理道德观念，表现为强调在性爱问题上的个人选择自由，性爱成为个人自我实现的重要方式，从而赋予人在性爱问题上的独立性，同时还扩大了性爱表现的领域；四，这个时期小说性爱叙事中所表现出的性意识还具有新旧杂糅的特点。30、40年代小说性爱叙事表现出对人性主题的深化与丌拓，首先是把性还原为欲望本身来探索，沈从文从和谐性爱对健全人性的决定作用、施蛰存从性压抑会导致人性扭曲甚至疯狂的角度探讨作为人类本质性欲望的性对人性产生的影响和作用，突出了性欲力量的不可抗拒和作为人类行为的重要动力等方面的内容；其次在叙事中表现出对欲望化了的身体的描绘与关注；第三是解构了性的伦理道德，无论是沈从文以自然法则来反对人为的道德设置还是新感觉派用消费交换原则替代传统性伦理道德，或是施蛰存极力表现包括性伦理规范在内的社会法则在性欲力量冲击下溃不成军，其直接的效果都是使性伦理道德对人的约束力量显得苍白虚弱；第四，出现了由女性作家表现的女性性意识，在丁玲的早期作品中女性的性欲望不再是作为感情的衍生物而是独立的欲望存在，而在梅娘等其他女作家的小说性爱叙事中则表现出对女性社会地位的强烈自觉意识。70年代末80年代初期小说的性爱叙事实际上是在人道主义语境下的再次启蒙，其主要特征一是性爱在人道主义前提下获得合法性，但要求性爱不超出伦理规定的范围；再就是将性爱叙事同国家观念和民族神话相融合；此外还有对身体的描写审美化诗意化等。80年代中后期，小说性爱叙事进入了多元化探索的阶段，作家通过还原性欲望来还原人性、还原人类的本真状态，不同作家笔下表现为不同的侧重和倾向——以辨证的方式看待性爱，写出其具有的创造性力量和毁灭性特征；将性爱与暴力相联系并通过其来表现人性的黑暗；强调性爱的创造性作用，尤其在民族"血性"的传承方面。

Ralph Ellison nimbly defends the blacks' humanity with his outstanding cultural vision, and his witty use of metaphors in language. He outdid the traditional literature focusing on moralistic propaganda by Mrs. Stowe, and the naturalistic protest fiction centering on hard boiled remonstration and violence by Richard Wright, firstly by speaking highly of the 191 century classic works by such white writers as Melville, Faulkner and Mark Twain, who showed humanistic spirit affirming the blacks' humanity, and secondly by making use of the highly symbolic arid subversive language both to represent negro's humanity and whites' inhumanity, and more importantly by probing into the universal human nature by alluding to the Riddle of the Sphinx, which demonstrates, in a broad sense, the author's humanistic concern for the living dilemma of the contemporary people and also his advocatory tendency to revive the humanistic spirit of the 19th century writers.

拉尔夫埃利森通过对梅尔维尔、福克纳和马克吐温等19世纪美国经典白人作家的作品解读，赞赏了这些作家在肯定黑人人性时表现出的人道主义精神；同时运用高度象征性和颠覆性的语言，展示了黑人的人性，揭示了白人的非人性；并通过"斯芬克斯之谜"典故的阐释，对普遍意义上的人性作了探讨，体现了作者对所有现代人的生存困境的关注，从而超越了以斯陀夫人小说为代表的注重道义宣传的传统文学，以及以理查德赖特的创作为代表的注重态度强硬的抗议与暴力表达的自然主义文学，体现出回归与提升19世纪人文主义作家人道主义精神的创作倾向。

Shimazaki Huzimura is a great writer who lived across the era of Meiji, Taisho, Showa . He is not only an important Romanticism poet but also a naturalist writer.

岛崎藤村是横跨明治、大正、昭和三大时代的伟大作家，既是浪漫主义的重要诗人，又是自然主义的代表作家，是日本近代文学史上创作生涯最长的作家之一。

In these chapters, we try to combine particular points with an entire area, and maintain close links with the writers'concrete writings, protrude the reprensentativeness and typicalness of the writers we have discussed.

在这几章的具体论述中，本论文力求点面结合并密切联系作家的具体文学创作，突出所论述作家在同类作家中的代表性与典型性。

Lugalbanda was a god and shepherd king of Uruk where he was worshipped for over a thousand years.

Lugalbanda 是神和被崇拜了一千年多 Uruk古埃及喜克索王朝国王。

I am coming just now,' and went on perfuming himself with Hunut, then he came and sat.

我来只是现在，'歼灭战perfuming自己与胡努特，那麼，他来到和SAT 。