司空见惯的

This is when you are talking to a woman and you are simply giving her information about a topic in a very blasé or scientific way.

这就是当你和女人谈话时，你只是就每个主题用非常司空见惯或科学性的方式给她灌输信息。

Thisis when you are talking to a woman and you are simply giving herinformation about a topic in a very blasé or scientific way.

这就是当你和女人谈话时，你只是就每个主题用非常司空见惯或科学性的方式给她灌输信息。

In the rain, the temples, which werebuilt to memory Libing, were as blear as two thousands years ago.

参观之时恰逢淫雨霏霏，这种天气对于盆地的四川来说倒也司空见惯。

Female badasses may be de rigueur now, but it was Wonder Woman that paved the way for girl power.

也许现在女坏蛋是司空见惯了，但是给少女力量铺平了道路的正是神奇女郎。

In this fast-changing world sth is not a rare scene.

在这个快节奏的社会里，某现象司空见惯。

Looney religion meets male aggression (all too common among British journalists).

卢尼宗教会见男性的侵略（所有司空见惯，其中英国记者）。

To explore the writers' self-consciousness, it is inevitable to analyze lots of works and to apply Chinese and Western psychoanalytic theories. I will present the harmony of the writers and the birds' images. Through the birds' narration of their feelings, the writers skillfully communicate the grief and the resentfulness of human nature. Also, I will discuss how mankind transcends the melancholy by reading the articles.

至於探讨的面向有三个，第一是「互诉关怀」，说明对於对方的思念、祝福与慰勉；第二是「唱和争胜」，经由唱和的过程，禽鸟所关涉的旨趣不仅彰显，彼此的感情与写作也有加分效果；第三则是「干谒求职」，这对唐人而言其实是司空见惯的，而禽鸟在这当中所扮演的当然就是作家自己；虽然对於禽鸟选择各有巧思，但都是极力推销的手法。

The people and objects floating through Gao Bo's works are without roots - perhaps they come from a momentary memory or a spark of interest. Looking at Gao Bo's works brings pictorial information stored deep in the mind to light, yet within a second these mind-images fade again, leaving behind a memory of all the images that lie underneath Gao Bo's warm and languid sketching. In Gao Bo's consciousness, these images don't stop at realism or simply exposit like some historical legend - in the end they reach towards the fringes of nothingness.These images can call up rich associations in our minds yet often these are false associations. For example, in "Gray Face" this is not the mystical dog of the god Erlang in Journey to the West; the rickety bridge in "River Bed" is certainly not a reference to a rainbow in Heaven; the story of "Contest" is not about two dogs running and pretending to be in love but a story of race dogs controlled by humans.

散漫在高波作品中的人与物没有根源，也许它们是源于个人瞬间的兴趣和记忆，有关知识的、情感的和在脑子里存储的图象信息随之而来，也可以随之而去，只是在温和缓慢的描绘背后还有一丝对所有形象匆匆停留过后的怀念，它们在高波的意识之中并不是一次停留于现实或者历史神话般司空见惯的陈述，它们的结果最终都是通向虚无的边缘，尽管那些形象似乎可以唤起我们丰富的联想，比如《灰色的脸》，它绝不是西游记中二郎神的天犬，在《河床》中不牢靠的拱桥，肯定不是寓指天堂里的彩虹，《竞赛》讲述的故事并不是两只在假装为爱情奔跑的狗，而是被人为所驱使的赛狗。

We should point out again that in any given year a company writing long-tail insurance (coverages giving rise to claims that are often settled many years after the loss-causing event takes place) can report almost any earnings that the CEO desires. Too often the industry has reported wildly inaccurate figures by misstating liabilities. Most of the mistakes have been innocent. Sometimes, however, they have been intentional, their object being to fool investors and regulators. Auditors and actuaries have usually failed to prevent both varieties of misstatement.

我们必须再一次指出，一个签发长尾型保险的公司(保单理赔范围通常在损失事件发生好几年后才会理赔的保单)，其经理几乎可以随心所欲的操控其短期的盈余数字，这行业因为负债错估而导致报表数字不真实可说是司空见惯的事，大部分的错误或许都是出于无心，但有时也有可能是故意的，其目的无非是想要误导投资人以及主管机关，而会计师以及精算师往往无法预防此类的事件发生。

It's no wonder that only people with rich aesthetic appreciation experiences have a physiological or psychological demand for tachisme, because in their eyes, what they expect most is a kind of pleasant sensation on aesthetic appreciation. They have seen too many delicate paintings, so their eyes are very particular and slashing. Especially, they can't bear ordinary paintings without mien. It has become impossible for those quotidian and easy descriptions about the reality without sound and colors to catch their eyes, to say nothing of touching their heartstrings. In their eyes, a good artwork "shall not get separated from the thought course of the reality to make an immediate response to various experiences and feelings in the life, and express them in a surprising manner with a breath-taking vigor, even make a crazy demonstration."

朱健甫：这也难怪，只有有着丰富的审美经验者，他才会对抽象绘画有一种生理和心理的需求，因为在他们眼睛里最为期盼的是一种审美快感，他们看了太多的精美绘画，因而眼睛是十分挑剔与苛刻的，尤其不能容忍平凡，没有声色的存在，对于那些司空见惯的对现实简单的描述，已不能打动他们的眼球，更无法触动他们的心灵，在他们看来，好的艺术品：&既不能脱离现实的思维进程，将生活中的种种经验与感受即刻的作出反应，并将它以出乎意料的方式表达出来，用一种摄人心魄的气势，做甚至是癫狂的展示。&

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。