叙述的

The free indirect speech is the main narrative voice Joyce used in his early texts to represent characters'mental activity, while in Ulysses, he creates interior monologue to display characters'consciousness and unconsciousness.

从19世纪后期开始，欧洲文学界在对传统全知叙述进行反思的基础上，兴起了对叙述的中立性和客观性的全面追求，乔伊斯多数作品所用的内部聚焦便是当时出现的新的叙述手法。

Donna kotoba narabete mite mo katarikirenai omoi kono ai ga sasayaku yo itoshisa no imi o I can't stop my love for you futari ayumu SUPIIDO wa kitto onaji hazu ja nai kara ne moshi mo kimi no tonari kono te ga hanareta toki wa miushinawanai you ni kitto mukae ni kite ne "daikirai" nante USO demo iwanai kedo "daisuki" datte USO nanka ja iwanai kara ne aenai toki sae kimi wa nani mo kangaeru yoyuu mo nai kurai kono kokoro o hitorijime ni surun dakara I can't stop my love for you futatsu no ai ga hanarete shimawanai you ni hitotsu ni daitete sore demo fuan na yoru wa otozureru mono dakara ne sonna toki wa GYUTto oogesa ni dakishimete ite kakegae no nai mono kimi ga takusan koko ni kureta dakedo nani yori mo ichiban kakegae no nai mono wa kimi nan da I can't stop my love for you futari katatta mirai ni kimi to no ibasho ga aru you ni Oh baby I can't stop my love for you kimi no subete ni natte ne tsunaida te shinjite aruite yuku to chikau yo I can't stop my love for you 在我俩叙述的未来中似乎有和你一起居住的地方在 Oh baby I can't stop my love for you

I can't stop my love for you 因为我俩行走的速度一定是完全不同的假使在你身旁的这双手离去的时候为了不会迷惘我一定会迎接你而来的"讨厌你"之类的话就算是谎言也不会说的那是因为"喜欢你"这句话不会是说谎的就连在没有见面的时间中你大概都没有多余时间去想任何事情因为整个心已被人独占了 I can't stop my love for you 为了不让两份爱分离就把它们拥抱在一起即使因为令人不安的夜晚还是会来临的到时候要紧紧用力地抱著我不能替代的你在此处给我太多太多但是比起任何物品我最不能替代的就是你 I can't stop my love for you 在我俩叙述的未来中似乎有和你一起居住的地方在 Oh baby I can't stop my love for you 请将我当成是你的所有相信你所牵著的手我发誓会陪你继续走的

Chapter Four is entitled"Mantissa: Freedom and Responsibility of Fictional Narrative". It takes Mantissa as the metaphor of literary creation.

第四章题为"《尾数》：虚构叙述的自由与责任"，认为《尾数》是虚构叙述写作的隐喻。

Of, relating to, or having the character of a recital or recitation.

背诵的，叙述的属于或与背诵或叙述有关的，或具有背诵或叙述的特点的

Accordingly , the relater has accomplished the transformation from conformity to abruption . The united authoritative narration gesture has been broken , and becomes complex and compound .

20世纪家族小说的叙述方式经历了一个从全知叙述到限制叙述的转换，相应地，叙述者完成了从整合到分裂的转变，统一的权威的叙述姿态被打破并逐渐走向复合多元。

Since the new century, many masterpieces on understratum narration reach considerable height and depth, we can find from them the new potentiality and wider space of humanitarianism and great vigor of realism in understratum narration.

新世纪以来，许多底层叙述的优秀作品让我们看到了底层叙述可以抵达的高度与深度，看到了人道主义在当代语境中进行底层叙述的新的发展可能和越来越宽广的空间，同时也看到了现实主义底层叙述的巨大力量。

Second, using traditional texturing method, the author pointed out application of texturing method in Wanganyi" s novels, transferred it to narrate level , analysed changes in distance, narrating stop, rhythm speed that texturing method brings in novels, analyse the strong points and weak points further, especially the weak point, namely narrow, close space of novel, the poverty of the inner world of character , and bias of author" s values and ideology.,Third, from novel language and way of narrating , the author point out characteristic of authority narrates in Wanganyi s novels, analysed individualized inclination of authority narrate, compared with Chenran, Linbai and Hainai and point out that the essence of its authority narrates is the fictitious authority

二、借用绘画传统技法&皴&，指出王安忆小说中皴法的运用，并将之引申到叙述学的层面，分析皴法的使用对小说在时空距离、动静结合、叙述停顿、节奏速度等方面带来的变化，进一步分析皴法的优缺点，重点分析不足之处，即小说相对空间的狭窄、封闭，人物精神世界的贫乏，以及作者价值观念、意识形态的偏颇。三、从小说语言和叙述方式入手指出王安忆小说权威叙述的特点，分析权威叙述体现出的女性个人化创作倾向，将之与陈染、林白、海男等女性个人化创作比较，并指出其权威叙述的实质是虚构的权威。

In the text practice of understratum narration, mistakes exist in a great quantity of works ,such as trumping up morality, discarding aesthetics, uglifying, jesting and pseudo tribulation narration, single dimension writing, which hold back the sound development of the current understratum narration in some extent.

而在底层叙述的文本实践过程中，有相当一部分作品在认识与表达上存在着不同程度的误区，比如道德虚构、美学脱身或丑化戏谑、伪苦难叙述、单向度写作等，一定程度上影响了当前底层叙述的健康发展。

This dissertation focuses on the narrative strategies of the "Spirit of May 4th", that is, how "May 4th" is described. With the comprehensive examination of the fluctuations of Ba Jin"s thoughts and writings in over seventy years of his career, I tend to explicate the complex relations between such fluctuations and the narrations of the "Spirit of May 4th", in the course of which the headways of times and the strata of thoughts are both unfolded. This case study renders to clarify the influences of the different narrations of "May 4th on the literary progress, along with on the creations and practices of writers.

本论文以对&五四精神&的叙述策略即&五四&是怎样被叙述、又是如何被叙述的考察为线索，以巴金七十余年的思想、创作的变化流程为考察对象，从不同时间的推移和多层次的思想层面展开等纵横两个方向，全面梳理了巴金的思想变化与五四精神不同叙述之间的复杂关系，从而通过个案研究来探讨关于&五四&的不同阐释对于文学发展进程、作家创作和人生实践的影响，并藉此返观五四精神在二十世纪中国思想文化进程中所发挥的历史作用及对知识分子的重要意义。

Start with it, this paper will analyze the nature, the pattern, and the style of the narration of history of novels by Mao Dun.Completely objective narrations of history never exist.

本文从历史叙述入手，分析茅盾小说历史叙述的性质、历史叙述的模式、历史叙述的风格。

Neither the killing of Mr Zarqawi nor any breakthrough on the political front will stop the insurgency and the fratricidal murders in their tracks.

在对危险的南部地区访问时，他斥责什叶派民兵领导人对中央集权的挑衅行为。

In fact,I've got him on the satellite mobile right now.

实际上 我们已接通卫星可视电话了