写神话

Chinese Bestiary presents a fascinating pageant of mythical creatures from a unique and enduring cosmography written in ancient China.

1中国人集的概念，提出了一种迷人的盛会，从一个独特的神话创造物和持久的cosmography写在古代的中国。

As you know,he wrote a lot of fairy tales.

你是知道的，他写了许多神话故事。

It is said that his previous book launched floristry to another level –if that was the case –it's about to happen again!

据说他的前一本书影响花艺界不同水平的其他人——如果这是真的——这本《Flower Stories》将续写这个神话！

I have no need to consult my horoscope or my genealogical chart.

我对星星上或我的血液里写着什么一无所知，只知道我是由人类的某些神话中的创始人繁衍的。

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。

After the success of entrepreneurs, there are two general state of mind: a good use of their business people to wrap their own story, or rather the myth itself, with the words of the brand community is made of the personal brand, they generally are by journalists are mine to write their own special bitter experience, will be packaged as an entrepreneurial venture when the beginning of devout Buddhists like a pilgrimage, like the hearts of God in every step Koushou; this way, with as much natural, naturally big reputation, personal value of the natural high, though to be really successful is also a layer of gold plating, as shone countless young men in pursuit of wealth, race and worship feel fake.

创业者成功后一般有两种心态：一种人善于利用自己的创业故事来包装自己，或者说是神话自己，用品牌界的话来说，就是将个人做成品牌，他们一般都通过记者们的手笔将自己的经历写得特苦，将创业者包装成一个在创业伊始时就虔诚得像个朝圣的佛教徒一样，心中有神在，一步三叩首；这样一来，跟随着自然多了，名气也自然大了，个人价值也自然高了，成功者也真得仿佛被镀了一层金一样，照耀着无数追逐财富的青年们竞相摸仿与崇拜。

I am going to share some of what I learnt talking to women for the book and dispel some myths.

我将跟大家分享一些心得，是我为写这本书与女性对话中领会到的，我还要打破神话。

In order not to short change the form and the movement of the myth, that violence which consists in centering a language which is describing an acentric structure must be avoided.

我希望现在引用列维—施特劳斯在《生与熟》里关于这一点所写下的长而优美的一页：其实，神话研究提出了一个方法论的问题，因为它无法遵循笛卡儿将困难分成许多部分以求解决的原则。

S. Lewis' Narnia books, great though they may be, are not in this strict sense mythopoeic: Lewis does not want to create a self-consistent secondary world, but rather a world in which all the varieties of mythology meet and find their home.

Lewis是The Inklings的一员，纳尼亚是他所写的畅销奇幻小说，共七本）虽然是伟大的成就，但它们并不是严格意义上的神话创作，明白这一点很重要。Lewis并不想创造一个自我连贯的第二世界，而是建造了一个可以容纳所有神话因素的大本营。

Their differences in form make this effect a complicated process of intersecting and dissociating, attracting and resisting.

日常叙事的风行是对曾经一统天下的宏伟叙事的偏执性反拔，是启蒙神话破裂之后的幻灭叙事，写物主义倾向和日常生活本身的封闭性与重复性使小说的主体性呈现为碎片状态；模糊审美作为叙事风格主要表现为内心光照逐渐黯淡的黑夜主题夺走了叙事者的存在基础，欲望化叙事和表象化叙事闪现着一种遗忘意志，作家相对主义式的犹豫表达模糊了必要的价值分野；小说的新闻化倾向作为一种文体现象，是对快速推进的信息时代和全球性的非虚构化潮流的文化回应，但它所标榜的真实性因为只能停留在表浅层次而显得暖昧和可疑；自我重复是反修辞和反诗学的命题，是指相同的叙事成分在同一作家的不同作品中的机械重复，自我重复有细节重复、情节与结构重复、扩写与改写等表现形式，媒体时代的强制性文化法则、作家的内在缺陷和叙事模式的局限性是其文化根源；反讽与讽刺相比，是一种相对温和却又更具普遍性的文化反抗形式，但九十年代小说的言语反讽、情境反讽和总体反讽都因为主体缺乏内在的价值支撑而陷入虚无，虚伪的反抗成为一种遮蔽现实的屏障；九十年代小说的叙事视角从传统的全知视角转向限知视角，具体表现为旁观视角和窥视视角，这种强调局部性和差异性的视角本来可以成为扩展个人话语空间的正当途径，但由于它们被过分地利用于渲染感官刺激和心理刺激，与大众趣味不谋而合。

I can still vividly recall the impressive scenes you gave. You were among my friends and relatives who accompanied me from my house to the seaport and when the porters were slow to show up, you obligingly carried my suitcase for me.

你对我的种种感人情意，使我记忆犹新，那天你随着我的亲友从家里送我上轮船，搬运工迟迟不来，你毅然替我提着皮箱上船。

St. Nicholas became the patron saint of Russia, where he was famous for his red cape, flowing white beard, and bishop's mitre.

圣尼古拉成了俄罗斯人的守护神，在那里，他以身披红斗篷，留着飘逸的白胡须，戴着主教法冠而闻名。