凝视的

As one of the most celebrated Chinese contemporary artists, Liu Xiaodong's artwork takes on the topic of realism and his pain towards the transition of the era is so sensitive that he casted away the formal vanity and grand narration, jointing tightly the individual trueness and time absudity. Every common figure in his artwork all more or less stares at their inward lives, which is a perfect discription of Chinese contemporary society.

他对于时代的变迁阵痛如此敏感，抛却形式的浮华与宏大的叙事之外，将个体的真实与时代的荒谬紧密衔接，每一个普通人物在他的作品中都不同程度地形成对生命的深意凝视，是对中国当下社会的完美注解。

Half savage as the man showed, with no covering on his matted head, with his brown arms bare to between the elbow and the shoulder, with the loose knot of a looser kerchief lying low on his bare breast in a wilderness of beard and whisker, with such dress as he wore seeming to be made out of the mud that begrimed his boat, still there was business-like usage in his steady gaze.

Dickens， Our Mutual Friend 这个男人看上去一半像个野人，乱蓬蓬的头顶上毫无遮掩，两只棕色的手臂裸露到肩肘之间，一块松散的方巾打成一个不那么松散的结，低低地垂在他赤袒的胸前，混在一堆乱七八糟的络腮胡子和下巴上的胡子里，他的衣裳仿佛是用那涂满小船的污泥做成的，尽管这样，在他那沉着的凝视中还是显示出一种认真办事的习惯。

When I stay in a luxurious locality, I savor the delicacy with transcendency; when I behold a rural scene, I take in the sapor with simplicity; when I walk in a crowd, I tingle with vitality; when I enter Disneyland, I immerse myself in fantasy… Now I got the answer why I feel happy all along, because the origins of my pleasure are so extensive. Daintiness, rudeness, wildness, simpleness, diaphanousness… I appreciate them all.

身处高雅奢华之地时，我享受着精致伴随的那份超然；凝视乡野田园之境时，我体味着简单营造的质朴之感；当我在熙攘的人流中穿行，我兴奋于人类积极、拼搏的生命气息；而当我置身于迪斯尼的卡通世界，我又沉溺于斑斓、唯美的臆想幻景……现在我知道为什么自己总是如此快乐，因为这快乐的源泉来的如此广博。

As I bent down to look, just opposite, [ 460 ] A Shape within the watry gleam appeard Bending to look on me, I started back, It started back, but pleas'd I soon returnd, Pleas'd it returnd as soon with answering looks Of sympathie and love; there I had fixt [ 465 ] Mine eyes till now, and pin'd with vain desire, Had not a voice thus warnd me, What thou seest, What there thou seest fair Creature is thy self, With thee it came and goes: but follow me, And I will bring thee where no shadow staies [ 470 ] Thy coming, and thy soft imbraces, hee Whose image thou art, him thou shalt enjoy Inseparablie thine, to him shalt beare Multitudes like thy self, and thence be call'd Mother of human Race: what could I doe, [ 475 ] But follow strait, invisibly thus led?

那时，若不是一种声音的警告，我恐怕会对它凝视，直到如今，徒劳虚幻的愿望。那声音说：'你看什么？美丽的人儿，你在那儿所看的就是你自己啊；它和你一块来一块去；你跟我来，我要领你到一个不是影子，却在等着你，和你作温柔相拥的地方去。你是他的形像，你将要享受他，他是你的，不能和你分离，你将为他生下众多和你们一样的人，因此将称你为人类的母亲。虽不见人，但听了这声音，怎能不顺从？

"With credit frozen and the commercial paper market poised on the brink of collapse, this is the most promising development I've seen on Wall Street in months," said floor trader Tim Formato, one of hundreds who gathered around the $1 bill and excitedly called their clients to inform them that they were looking at actual U.S.

" 在这信贷冻结外加商业票据市场濒于崩溃的边缘的时候，看到这个消息是几个月来我在华尔街遇到的最富希望的事件了，"场内经纪人提姆。佛马托说道。他是在场的数百名幸福者中的一员，这些经纪人聚集在这张1美元纸币周围，兴奋地打电话给他们的客户，告诉客户他们场内经纪人都正在凝视着真正的美国货币。

Wenzhou So when the surplus funds to invest in not only local and only bank deposits, the influx of a place on the disrupted eyes that stare only at the local consumption and investment capacity of the government, was severely hit the head of a wand After the government began to abandon the market economy, competition and capital flows, the basic principles, attempting to use a variety of fallacies, and various non-market administrative means Road erected firewalls, panic in the foreign capital inflow, will market any change Incrimination Wenzhou People in the real estate, rather than a review of the government's forecast of the market and management capabilities.

因此，当温州的盈余资金投资不仅当地，只有银行存款，流入地的破坏眼睛凝视只能在当地消费和投资能力的政府，是严重打击头部的魔杖后政府开始放弃市场经济，竞争和资本流动的基本原则，企图用各种歪理邪说，各种非市场的行政手段道架设防火墙，恐慌的外国资本流入，将市场的任何变化归罪温州人在房地产，而不是审查政府的预测，市场和管理能力。

Then she took a large and handsome vase, the kink in which marjoram or basil is grown, and inside it she placed the head wrapped in a beautiful clotn; then covering it with earth, she planted above it several sprigs of the finest basil from Salerno, and she watered it only with rose or orange water or with her own tears, She spent her time sitting close to the pot, turning all of her desire upon it, for it contained her beloved Lorenzo hidden within; and after gazing at it for a long time, she would bend over it and begin to weep and weep until all of the basil was bathed in her tears.

之后，她拿来一个又大又漂亮的花盆，就是那种能养墨角兰和罗勒的大花盆，把用美丽的花布包好的脑袋放到里面，盖上土，在上面又种上几颗沙赖诺品种的罗勒小苗。她不是用玫瑰水就是用橘子水或者自己的泪水浇灌它。她什么也不做，终日仅仅伏在花盆边上，向它倾诉所有的愿望，因为她心爱的罗伦佐就藏在里面啊。在凝视花盆许久之后，她总是对着它哭啊、哭啊，直到所有的罗勒都浸到了她的泪水。

One must have a mind of winter To regard the frost and the boughs Of the pine-trees crusted with snow; And have been cold a long time To behold the junipers shagged with ice, The spruces rough in the distant glitter Of the January sun; and not to think Of any misery in the sound of the wind, In the sound of a few leaves, Which is the sound of the land Full of the same wind That is blowing in the same bare place For the listener, who listens in the snow, And, nothing himself, beholds Nothing that is not there and the nothing that is.

若想敬仰松树枝干层层为霜雪覆盖，你得具备冬天的头脑。在寒冷中持久凝视，那冰雪蓬松的刺柏丛林，那闪烁在远处腊月阳光下的迷漫云杉。不要去想那风声和树叶夹带着的凄凉。这声音是风地里的声音，这风是为在空地上的你而吹。在雪里聆听的人儿啊，听着与己无关的事儿，那儿不存在的东西看见，眼里只有现存的一片空旷。

With strain, elevating a candlestick: with pain, feeling on his right temple a contused tumescence: with attention, focussing his gaze on a large dull passive and a slender bright active: with solicitation, bending and downturning the upturned rugfringe: with amusement, remembering Dr Malachi Mulligan's scheme of colour containing the gradation of green: with pleasure, repeating the words and antecedent act and perceiving through various channels of internal sensibility the consequent and concomitant tepid pleasant diffusion of gradual discolouration.

420他心情紧张地举着烛台，感到疼痛伸手摸了摸肿胀起来的右颞叶撞伤处。他全神贯注地凝视着那庞大笨重被动的和那细溜活泼主动的，又殷勤地弯下身去，把掀起来的地毯边儿舒展成原样。他兴致勃勃地记起玛拉基。穆利根博士的色彩计划，其中包括深浅有致的绿色。他又心怀喜悦之情重复着当时相互间的话语和动作，并通过内部种种感官，领悟着逐渐褪色所导致的温吞快感的舒散。

Further, I could not even say about these photographs, if we except the one I had already published ( which shows my mother as a young woman on a beach of Les Landes, and in which I "recognized" her gait, her health, her glow-but not her face, which is too far away), I could not even say that I loved them: I was not sitting down to contemplate them, I was not engulfing myself in them.

此外，我对于这些照片没什么可说的，如果把那本已经出版的书排除在外（在书中有一张母亲年轻时在来兰德斯海滩的照片，我于其中&认出了&她的步态，她的精力，她的容光--但未能认出她的面容，那太遥远了），而我甚至不能说我爱着这些照片：我没有坐下来凝视它们，也没有专注于它们。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。