创作

But he thinks that woodcraft should not be confined to religious, practical or decorative purposes.

但他自认木雕应不仅止於宗教、实用与装饰性而已，若为提升木雕的层次，应以艺术的创作理念出发，因而投入木雕创作的领域，迄今达三十四年。

This creative process does not need any disguise or artificial, will not do anything to the fame and fortune, the pursuit of natural, pure, this is the ideal creative process: that in order to create a better mood, can become works of fine Jiqing write-in for.

这样的创作过程不需要任何掩饰或是矫揉造作，不做任何名利之想，追求自然、纯真，这才是理想的创作过程：，如此才能创造美好的意境，作品才能成为寄情写志的上乘之作。

Play writing or, in the case of films, script writing, are part of the tradition of performing arts.

戏剧创作以及电影中的剧本创作，是传统表演艺术的一部分。

The six days of Creation in Genesis find a parallel in the six periods of Creation described in the Zoroastrian scriptures.

为期六天的创作成因找到一个平行的，在6个时期的创作形容在zoroastrian经文。

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。

The first part of Chapter Two, mainly applying Freud"s tripartite model, supplemented by Lacan"s concept of objet a and Adler"s inferiority complex, examines the biographical aspect of Three Tall Women, and digs in detail Albee"s dreams and demons, thus analyzing the "exorcism" function of the play.

第二章主要运用佛洛伊德的三重一体理论，同时援引拉康的残缺理论以及阿德勒的自卑情结理论，就《三个高大女人》的自传体特征，详尽讨论阿尔比与生俱来的追求与失落：隐藏在富裕和成功背后内心深处的阴影，其中他和母亲的关系成为文章关注的重点。该部分同时结合大量作者本人及他人的论述，解释阿尔比的创作意图和创作态度。

Edward Lim's creative impulse allegorically treats spaces on his paintings as places to baste. His particular thoughts and consciousness are indicated by means of"sprinkled" colors and lines, revealing the entire process of the artist's creative energy.

林宏的创作冲动是具有寓意性的，他把画面上的空间当作是一个作者的涂抹之地，&挥洒&的色彩和线条不仅暗示了某种思想和意识的状态，而且也再现了其创作的整个过程与步骤。

Furthermore, the thesis takes the advantage of Chapter Three "The roles' multiple relationship in Ai-Lin Yan's poems" which embraces the three kinds of writing archetypes all above to present the poetic thoughts' orientations with multiple conflicts of individual consciousness by the struggle and the escapement the role "I" treat "you" on the individual consciousness and the performance of the gender in the text, the harmony and the separation "you" treat "I" in the spirit of thinking and on the physical passion, and the metamorphosis of "him" or "her" in accordance with or against subversion "I" treat "him" or "her" that way between the interpretive community and the Other, the imagined community and the alterity.

在当代的文学批评中，相较於对现代小说或现代散文之析论趋势，专文探讨而研究现代诗之论作仍非主流大宗，而居於现代诗中边缘书写的女诗创作，在向来以阳系体制为主导之诗域内，亦往往不易彰显其独特文学价值性。因此，本论文拟择定代表当代台湾女诗中创作思维既有别於他者，亦强烈建立女性意识书写风格之颜艾琳诗作，进行深度剖析，并藉由文本中特殊凸显出之角色个体意识冲突，作为论证台湾九0年代现代女诗突破既往父权文化藩篱，且开启新世代诗创定位之初探基点。

In these processes, we can see the relationship between the author and the text, and the relationship between the readers and the text. So without the auctorial activity, we can" t havethe text; without the readers, the fiction" s intent can t be realized, and the auctorial aim idea will never come true.

也就是说，没有作者的创作就没有小说文本，没有文本也谈不到文学接受；同样，没有文学接受，小说作品的潜能就实现不了，作品还只是可能的存在而不是现实的存在，作者的意图和目的还没有实现，文学创作的意义就无从谈起。

During 50 years after coming into being in Chinese film, Traditional opera film living space is less , is in authigene state basically, system that the theory and aesthetics creating laws at the same time since Chinese motion picture technique , the artistic media restricting , traditional opera film creation do not form one package to traditional opera film study.

在中国电影诞生后的50年间，戏曲电影的生存空间较小，基本处于自生状态，同时由于中国电影技术、艺术手段的限制，戏曲电影创作没有形成一整套对于戏曲电影创作规律的理论和美学研究的体系。

What would he tell Judith and the children?

他将怎样告诉朱迪丝和孩子们呢？

I this is at that time, the opinion with peacockish true girl is full of in a heart.

这就是当时的我，一个心中布满虚荣的女孩子真实的想法。