厌女的

As to the formation and evolution of the motives in classical fictions, our viewpoints are: the FuXi custom had engendered an extremely rich repertory of motives, such as JianDi pregnancy legend in the Shang Dynasty, which was the earliest form of the "Swan Maiden" type stories in the world. This type of the story later in the Jin Dynasty evolved into the Maiden-bird type story, which again involved into many other stories in which maidens took the shape of an egret, a swallow, a snail, a tigress, a fairy maiden or a girl in lotus leaves. The custom of HanShi or QingMing may be embodied in the stories about encountering with a girl reviving from a tomb. The dragon in classical fictions may be disguised into an ox or trees, whose fight on fifth of May was a counterevidence of DuanWu.

至于古小说母题的生成和演化方面，我们也许可以认识到：以上巳为主的祓禊风俗产生了最为丰富的小说故事母题，如殷商时期的简翟生子传说是世界上最早的"天鹅处女"型故事，它在晋代又演化为女鸟故事；而那些鹤女、鹄女、鹭女、燕女、螺女、虎女、荷衣女等故事，则在不同程度上是"天鹅处女"型故事的变型型式；在同异境女子遇合的故事中，郑交甫神遇江妃二女、世间男子巧遇仙境女子的故事都包藏着上巳习俗的内涵，而幽婚故事更多地带有寒食、清明风俗的痕迹；古代盛传的金牛故事、青牛故事不但可以归属龙类故事，而且在很大程度上与端午厌胜蛟龙的巫术有关，至于龙斗故事则明显地和端午习俗相联系，甚至可以由此反证端午驱龙的本意。

This essay, through a critical analysis of the women's images in Robert Browning's well-known dramatic monologue,"My Last Duchess", attempts to prove that the two women's images in this poem are in fact an embodiment of two archetypes of women, which were handed down from an early literary tradition, misogyny and Mariolatry.

通过对罗伯特·勃朗宁的著名戏剧独白诗《我的前公爵夫人》中的女性形象进行批评分析，旨在阐明这两个女性形象实际上所隐含的从早期文学传统，厌女症和对圣母马利亚的崇拜继承下来的两个女性原型

That is to say, males adopted the taboo narratives in the public domain displayingtheir "misogyny" in order to prevent the enhancement of women\'s social position,meanwhile strengthened the status of the male gender superiority. Secondly, males areidentified with women\'s changing social position: the contract responsibility systemstressed the importance of labor cooperation among family members.

土族女性初步的现代性觉醒引起了男性相应的"文化反应"：第一、男性对女性现代性突围的焦虑与警觉，这是一种集体的焦虑，即在公共领域男性采取禁忌叙事的方式去公开表现自己的"厌女症"，从而抑制女性社会地位的上升，强化男性的优势性别地位。

Their bare mythic quality, their dreamlike intensity, their bleak understanding of cruelty and humiliation, even their famous misogyny—all these things have their origins there.

充斥在字里行间的，是如神话般的气质，如梦境般的张力，是冷眼看人间的暴行和羞耻，甚至还有他那广为人知的"厌女思想"。所有这些都来源于他的生活。

Having spread the quilt and folded my night-dress, I went to the window-seat to put in order some picture-books and doll's house furniture scattered there; an abrupt command from Georgiana to let her playthings alone (for the tiny chairs and mirrors, the fairy plates and cups, were her property) stopped my proceedings; and then, for lack of other occupation, I fell to breathing on the frost-flowers with which the window was fretted, and thus clearing a space in the glass through which I might look out on the grounds, where all was still and petrified under the influence of a hard frost.

这活儿她百做不厌，并不逊于把鸡鱼类给女管家，把所得钱藏匿起来，她有做买卖的才干，有突出的聚财癖，不仅表现在兜售鸡蛋和鸡方面，而且也在跟园艺工就花茎、花籽和插枝而拼命讨价还价上显露出来，里德太太曾吩咐园艺工，凡是伊丽莎想卖掉的花圃产品，他都得统统买下。

It's a reactive piece rather than a thoughtful piece. And one of the great themes of this time was the 'crazy woman'. Now this is not just a misogynistic idea but another reflection of the strength of the unconscious.

与其说这部作品是深思熟虑后的结果，还不如说它是一种直接反应的产物，作品中一个最重要的主题就是&疯狂的女人&，这不是一种简单的厌女情结，而是潜意识的强大力量的另一种反映。

I am accused of being overreligious," she said in her quiet, frank manner,"but that does not prevent me thinking the children very cruel who obstinately commit such suicide.""

客人们在卡罗利娜·埃凯家里，举止就文雅一些，因为卡罗利娜的母亲治家很严厉。

Designed by French fashion house Herm è s, this elegant uniform was manufactured in our home, Hong Kong, and was the first without a hat.

由著名品牌 Herm è s 设计，这件高贵的制服是香港本土制造，是我们第一套不配帽子的制服。