写神话

Some of these may have migrated in a way mythically described in Exodus.

他们中的一些，也许像《出埃及记》所写那样，以一种神话般的方式移民了。

Jim Endersby's major new scholarly edition debunks some of the myths that surround Darwin's book, and expores how it was originally written, published and read.

吉姆Endersby的新的重大学术版戳穿神话围绕着达尔文的书一些，expores它最初是怎样写的，出版和阅读。

Remember that part where he writes:"Just as Socrates felt that it was necessary to create a tension in the mind so that individuals could rise from the bondage of myths and half-truths to the unfettered realm of creative analysis and objective appraisal, we need for nonviolent gadflies to create the kind of tension in society that will help men rise from the dark depths of prejudice and racism to the majestic heights of understanding and brotherhood."

记得他写的那个部份：&正如苏格拉底认为的那样，非常必要的是，在大脑中制造一种紧张状况，使得个人可以从神话和不完全的真理的束缚中解脱出来，进入到创造性分析和客观评价的自由王国，我们需要一些没有暴力的牛虻，在社会中制造出这种紧张局面，这将有助于人们从偏见和种族主义的深渊中解脱出来，到达理解与兄弟般友谊的高峰。&

Empedocles' death was mythologized by ancient writers, and has been the subject of a number of literary treatments.

恩怕多柯勒之死被许多古代作家写成了神话，一直是很多文学作品的主题。

It says here Heracles himself fought with the Argonauts.

这里写到大力神和亚尔古神作战希腊神话

Chapter Two takes on the deconstructive perspective. In this chapter, the author emphasizes how Morrison deconstructs the grand narrative through the exposure of the relations between power and truth. Also included in this chapter are Morrison's employment of self-reflexive narrative in "writerly texts" and the deconstructive effects of myths and allusions.

第二章从解构理论出发，讨论莫里森对宏大历史叙述的解构，主要涉及莫里森对话语权力和真理的关系的揭露，叙述者的内省在&可写性文本&中的运用，以及神话和典故的解构作用。

And then later when you and I were brainstorming on a story, I remembered you'd written something before about the myth of the selkie, and I thought it'd be a perfect plot to adapt for what, in my head, I was already calling a "Captain Jack Tale."CB: Except that my story had nothing to do with Torchwood or Captain Jack.

而后，JB和姐姐开始对于故事情节进行头脑风暴， JB记起CB曾写过一些关于selkie的神话故事，美人认为拿它来做故事情节很棒，而且脑中已经出现&Jack上校传说&的粉红泡泡鸟（咳，拒绝殴打，俺就觉得JB脑子里总会出现粉红泡泡玫瑰花花瓣之类的东西）。

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。

L In cultures with a rich oral tradition, children can be encouraged to wrote down stories, myths and traditions.

在有丰富口语传统的文化中，可以鼓励儿童写下故事、神话和其他传统形式。

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。