创作

Hunger, as a root of physical want, makes Mo Yan's writing become sensory with a personal colorful style. As Mo Yan said himself, he wanted to create a kind of "stomach perforation" work based on harsh realism. After some analysis and research, I found that there was a kind of writing style in abjection, sensory imagination, and instinctive bounce in his creation, which forms a kind of hunger satisfied/swell, absurd/violent, reincarnate/magical illusional narrative aesthetics.

而「饥饿」作为生理匮乏的根源，使莫言的创作开展出一种极具个人色彩感官式的书写，诚如莫言自陈的想写出立基於严酷现实主义「胃穿孔」的作品，经分析与研究后，发现在他的创作中确实以一种贱斥化观点、官能式想像及本能式跃动的书写特色，形成一种饱餍肿胀、荒诞暴力、轮回魔幻的叙述美学。

From a perspective of the nature of the absurdness of the text, the absurd narrative method, the author's philosophy of writing and also the nature of the "laughter culture", this essay takes a few of the author's short stories as examples to analyze the poetic features of this post-modernist writer.

本文以作家若干重要的短篇小说为例，从文本荒诞的意义内涵、荒诞的叙事方式、作家创作的哲学理念和"笑文化"的具体内涵出发，深入分析了这位后现代主义作家创作的诗学特征。

In the mcantime,the main difference between grotesqueness and absurdness is that grotesqueness is qualified with some kind of creating techniques and styles while absurdness is more concerned about implications and conceptions.

怪诞与滑稽的区别主要在于反常程度、创作态度和审美价值的差异上；怪诞与荒诞的区别在于怪诞更多作为一种创作手法，荒诞更主要是一种观念和意识。

Moreover, the creative activities of academicism are mostly demonstrated by works of young artists.

而且，学院版画的创作面貌也主要体现在青年艺术家的创作探索上。

Such an aesthetic transition of printmaking eliminated a number of printmaking artists with outmoded conception, which in turn contributed to the development of academicism in printmaking.

版画创作在上世纪90年代的这种审美转换，淘汰了一大批原有创作模式的版画家，版画队伍的收缩成为学院版画发展的重要因素。

Xiao Qian pursue the fighting and the sociality in his novel creation, but the melancholy temperament of individual, the tragedy of novel content make Xiao Qian"s novel formed melancholy keynote in whole; lyrics in the art, the psychology distance of create aesthetic, the feelings of writing are controlled and objective, it make his novel write sober; construction the image of poetry and interweave with feeling, symbolism and the poetry of language make Xiao Qian"s novel formed poetry.

指出萧乾在创作中追求小说的社会性、战斗性与艺术性的和谐，由于个体的忧郁气质，小说内容的悲剧性使萧乾小说在整体上形成忧郁的基调；艺术上的抒情写意，创作审美的心理距离的运用，书写的情感节制，让萧乾的小说叙写上冷静客观；诗意意象的塑造，并与情感相交织，象征手法的运用以及语言的诗意质感使其小说具有诗意美。

On productions at the National Theatre, Skini and Nea Skini theatres, Aplo Theatro, Epochi theatre, Amphitheatro, etc., of plays by Shakespeare, Goldoni, Griboyedof, Turgenief, Chekhof, Gorki, O'Neill, Tennessee Williams, Arthur Miller, Pinter, Mammet, Orton, Aristophanes, Hourmouzis, Loula Anagnostaki, G.Dialegmenos, Euripides etc.At the cinema: Since 1983 she has been a permanent collaborator with Theo Angelopoulos, composing music for his films Voyage to Cythera, The beekeeper, Landscape in the Mist, The Suspended Step of the Stork, Ulysses' Gaze and the Cannes Festival Golden Palm award-winning film, Eternity and a Day. She has also composed music for films by Dimitris Mavrikios, Takis Kanelopoulos, Tonia Marketaki, Christoforos Christofis (Wandering / Rosa), Lefteris Xanthopoulos, Giorgos Koras Margarethe von Trotta (L' Africana), etc.

然后她回到雅典，上电台，办民族音乐试验室，1979年被她视为命运的转折点，她开启了电影作曲的职业生涯，合作者是希腊诗人兼新电影流派的导演Chistoforo Chillstofis，1982年Eleni Karaindrou因前者的影片"芳名罗莎"在塞瑟隆尼基电影节上获得原创音乐奖，颁奖人正是评审团主席Theo Angelopoulos，他们的合作也由此开始，以后的九年可谓硕果累累，两个人物以类聚，谁都没有辜负了彼此间的厚望。80年代安氏创作了他的"漂泊"三部曲，当首篇"塞瑟岛之旅"告竣之后，安氏在访谈录中称赞Eleni正是他所需要的那种博采众长且深具古典音乐实力的最佳搭档，Eleni不仅创作电影音乐，而且也涉足希腊的先锋戏剧，她的第二个丈夫就是一位戏剧导演，Eleni迄今已为35部剧本谱写了音乐。

The thesis consists of five chapters. The first chapter is this thesis"s introduction presenting the purpose, significance and method of the study; The second chapter analyses the architectural design"s characteristic and its differences between Gropius and wright through the respective typical achievement of the two; The third chapter is the core of the thesis. This chapter comprehensively compares the architectural thought between Gropius and Wright which is reflected in several aspects, such as the basic thought of architectural design, space conception, architectural aesthetic inclination and the methodology of architectural design and so on; the fourth chapter is the comparison of the cause resulting in different architectural thought of the two; The fifth chapter is the concluding remarks of the thesis. This chapter mainly elaborates respective different ideological enlightenment which the two architects have respectively left us.

论文共分五章：第一章是绪论，介绍本文的研究目的和意义，以及研究方法；第二章是由典型作品入手来剖析格罗皮乌斯与赖特的建筑创作特点与差异；第三章是本文的重心部分，通过在建筑创作的基本思想、空间观、建筑美学观、创作方法论等几个方面，对格罗皮乌斯与赖特的建筑观作较系统的比较；第四章是两建筑大师建筑观形成的原因之比较；第五章是本文的结束语，主要阐述两大师各自给我们的不同的思想启示。

Of his life created a lot of excellent art works,art songs are one of the imp...

他一生创作了许多优秀的艺术作品，其中艺术歌曲是其重要创作的方面之一，贯穿着其一生的创作轨迹。

In the end, it will discuss how Russian artistic songs came into being. In this chapter, the article tries to give readers a general impression of Mussorgsky creation background.

第二章，着重介绍作曲家的生平及其创作，对穆索尔斯基其人其作作宏观上的了解，并就其创作风格作简单的介绍，同时对《死之歌舞》的创作背景做分析。

Shop assistant: Please check at the door.

店员：请您到门口柜台交费。

In the end, transportation of PAHs in the environmental matrix was preliminarily investigated and discussed according to PAHs data of soils and sediments from a certain region in Shanghai. The result indicated that there are two or more pathways on PAHs transportation in the environmental matrix.

最后，对上海特定地区内PAHs在环境介质中的迁移径途进行了分析讨论，结果表明上海市土壤和沉积物等环境介质中PAHs的迁移存在多种途径。