启蒙的 - 网络例句 - 英语人，englisher

I think it's my abecedarian.

我觉得是我的启蒙老师。

I'm thankful for my abecedarian.

我很感激我的启蒙老师。

I'm very appreciated with my abecedarian.

我很感激我的启蒙老师。

From May 4th Movement of 1919 to the 1920s, sex love narrations in Chinese novels were rather an enlightenment and liberation in that particular era with four characteristics. Firstly, sexual desire was endowed with rationality with regard to liberation of human nature and mutual love. Secondly, with an epochal concern for a stronger and superior race, greater attention was paid to sexual parties concerned, mainly physically. Thirdly, new ethics on sex were promoted in that personal freedom on sex love was emphasized and sex love became an important way of self-fulfillment. Therefore, independence of sex love was advocated and the scope of sex love was also widened. Fourthly, the sex consciousness of this period had the mixed features of the past and the contemporary. Sex love narrations in the 1930s and 1940s showed a further exploration on the theme of human nature. First of all, sex was restored to a kind of desire. ShenCongwen probed the importance of harmonious sex love to a sound personality and Shi Zhecunrevealed that sexual inhibition could lead to the distortion, even frenzy of human nature. Bothexplored the influence and functions of sexual desire as human nature upon human personality,giving prominence to the irresistibleness of sexual desire and the significance of sexual desire asa motive. Then, human bodies driven by sexual desire were described and given greater attentionto. Next, ethics on sex were deconstructed either by Shen Congwen who opposed man-madeethics with law of nature and the School of New Sensation who replaced traditional ethics on sexwith exchange rules in consumption, or by Shi Zhecun who spared no efforts in representing thecomplete failure of social rules, including ethics on sex, due to the impact from sexual desire.The direct effect was a paleness of the ethical binding force on sex. Last, sex consciousness inthe works of female writers emerged. In the early works of Ding Ling, the sexual desire of thefemale is no longer a ramification of emotion but an independent one. In addition, in the sex lovenarrations of other female writers, such as Mei Niang, strong self-consciousness on the socialstatus of the female is also reflected. Sex love narrations in the late 1970s and early 1980s wereactually a re-enlightenment in the spirit of humanism, whose major features include humanisticlegitimation of sex love within the boundary of ethics, a blend of sex love narrations withnational concepts and national myths as well as the aesthetic, poetic descriptions of humanbodies etc. In the middle and late 1980s, sex love narrations entered a stage of exploration forpluralism. First, by restoration of sexual desire, writers of this era restored human nature, thevery original state of human being. Different emphasis and tendencies could be seen in differentwriters: looking at sex love dialectically and trying to describe its creative as well as destructivecharacteristics; connecting sex love with violence and trying to reveal the evil side of humannature through it; emphasizing the creativeness of sex love especially in the heritage of"wildness".

从"五四"到20世纪20年代，中国小说的性爱叙事是一种处在时代夹缝中的启蒙和解放，其所表现出来的特点，一是正面赋予性欲望以合理性，这种合理性是在人性解放和爱情前提下获得的；二是在强种育种的时代焦虑影响下小说性爱叙事表现出对物质身体的关注，其焦点主要在体格方面；三是树立起新的性伦理道德观念，表现为强调在性爱问题上的个人选择自由，性爱成为个人自我实现的重要方式，从而赋予人在性爱问题上的独立性，同时还扩大了性爱表现的领域；四，这个时期小说性爱叙事中所表现出的性意识还具有新旧杂糅的特点。30、40年代小说性爱叙事表现出对人性主题的深化与丌拓，首先是把性还原为欲望本身来探索，沈从文从和谐性爱对健全人性的决定作用、施蛰存从性压抑会导致人性扭曲甚至疯狂的角度探讨作为人类本质性欲望的性对人性产生的影响和作用，突出了性欲力量的不可抗拒和作为人类行为的重要动力等方面的内容；其次在叙事中表现出对欲望化了的身体的描绘与关注；第三是解构了性的伦理道德，无论是沈从文以自然法则来反对人为的道德设置还是新感觉派用消费交换原则替代传统性伦理道德，或是施蛰存极力表现包括性伦理规范在内的社会法则在性欲力量冲击下溃不成军，其直接的效果都是使性伦理道德对人的约束力量显得苍白虚弱；第四，出现了由女性作家表现的女性性意识，在丁玲的早期作品中女性的性欲望不再是作为感情的衍生物而是独立的欲望存在，而在梅娘等其他女作家的小说性爱叙事中则表现出对女性社会地位的强烈自觉意识。70年代末80年代初期小说的性爱叙事实际上是在人道主义语境下的再次启蒙，其主要特征一是性爱在人道主义前提下获得合法性，但要求性爱不超出伦理规定的范围；再就是将性爱叙事同国家观念和民族神话相融合；此外还有对身体的描写审美化诗意化等。80年代中后期，小说性爱叙事进入了多元化探索的阶段，作家通过还原性欲望来还原人性、还原人类的本真状态，不同作家笔下表现为不同的侧重和倾向——以辨证的方式看待性爱，写出其具有的创造性力量和毁灭性特征；将性爱与暴力相联系并通过其来表现人性的黑暗；强调性爱的创造性作用，尤其在民族"血性"的传承方面。

In his literary and dramatic works, Lessing expressed the thoughts to Enlighten and foster the national sprit and even to set up an integral national civilization; what"s more, he opposed the feudal separationist rule with his ideal of Kosmopolitismus. At that time, after succeeding and developing European humanist tradition, Lessing formed his religious philosophy and religious tolerance, with his rational opinion, he deepened the profundity of German Enlightenment. Furthermore, he created townspeople"s drama and advocated the realistic aesthetics. On the one hand, he praised their disposition and expressed their political desire and class interest, which made the townspeople as a new motive force to the German Enlightenment. In addition, Lessing"s Enlighten. thoughts greatly influenced the following movement—Sturm Und Drang. The essence of Lessing"s thoughts is our common valuable prosperity.In a word. Germany then greatly needed a person like Lessing, and Lessing was the child of German Enlightenment.

面对法国文化长期统治德国文化界的现状，莱辛勇敢地站出来反对"法国化"倾向，对德意志全社会进行民族启蒙，通过戏剧理论及作品，表达了建立统一的民族文化、培植德意志民族精神的思想，同时他提倡世界主义，并用它来为民族主义服务，以反对当时德国的分裂割据；他的宗教哲学思想及宗教宽容精神继承和发扬了西欧的人文主义传统，反映了莱辛的理性观，也针砭了当时德国的时弊，是他对德国启蒙运动进行的有益的探索，拓宽了德国启蒙运动的深度；莱辛在实践中创作了市民剧，他的市民主义和现实主义美学思想弘扬了市民阶级的性格，表达了他们的政治愿望和阶级利益，为德国启蒙运动增加了新的动力，是莱辛所作的杰出贡献之一；莱辛的启蒙思想对后世特别是狂飙突进运动有着重大的影响，他的思想中的精华部分是人类的共同财富。

Abigor, Abyssos, Aeternus, Alastis,All Shall Perish, Amon Amarth, Amorphis, Anathema,Ancient, Angelcorpse, Antichrisis, Apostasy,Arcturus, Ashes You Leave, Atheist, At The Gates,Bal-Sagoth, Borknagar, Burzum, Caliban,Cannibal Corpse, Carcass, Carnal Forge, Cemetary,Children of Bodom, Cradle Of Filth, Criminal, Cryptopsy,Darkseed, Dark Tranquillity, Darkthrone, Death,Deicide, Destroyer 666, Dimmu Borgir, Dismal Euphony,Dismember, Dissection, Dreams of Damnation, Einherjer,Emperor, Enslaved, Enthroned, Entombed,Evereve, the Gathering, Graveworm, Hypocrisy,Immolation, In Flames, Internal Suffering, Kamelot,Katatonia, Krabathor, Labyrinth,Lamb of God,Marduk, Mayhem, Moonspell, Morbid Angel,My Dying Bride,Napalm Death, Nasum, Nile,Obituary, Old Man's Child, Opeth, Otep,Paradise Lost, Penumbra, Samael, Saturnus,Sentenced, Sepultura, Shadows Fall, Siebenburgen,Sigh, the Sins Of Thy Beloved, Six Feet Under, Skinless,Suffocation, Summoning, Therion, Thyrfing,Tiamat, Tristania, Ulver, Venom,Vintersorg, Virgin Black, Windir, Witchery,Within Temptation.

以邪恶、异教崇拜以及撒旦思想为其主要诉求，通常在歌词含有反基督、反宗教的倾向即被归为黑金属，除了传统重金属固定乐器之外，经常会使用其他乐器如钢琴、小提琴，或歌剧的女高音，在歌曲中营造出一股诡异又吓人的恐怖气氛。&黑金属&以来自北欧的重金属团体最具代表性。1、启蒙黑金属：在八十年代初，英国的地下重金属乐队Venom，在音乐中明确宣扬了对撒旦的崇拜、对战争的渴望，并且是由他们第一次将&Black Metal&这个名词带到金属圈内，为日后的黑金属乐队指明了音乐方向；瑞典同样出现了两支启蒙型的黑金属乐队，Bathory和Celtic Frost，他们的音乐已经基本上具备了原始黑金属的特点：粗糙、暴虐、邪恶！而Bathory的第一张专辑也被誉为是第一张黑金属唱片。不能不提的是丹麦的Mercyful Fate，他们虽然对日后的原始黑金属没有什么过多的影响，但是却对歌特黑金属、交响黑金属、歌特金属有着榜样的作用。

In his literary and dramatic works, Lessing expressed the thoughts to Enlighten and foster the national sprit and even to set up an integral national civilization; what"s more, he opposed the feudal separationist rule with his ideal of Kosmopolitismus. At that time, after succeeding and developing European humanist tradition, Lessing formed his religious philosophy and religious tolerance, with his rational opinion, he deepened the profundity of German Enlightenment. Furthermore, he created townspeople"s drama and advocated the realistic aesthetics. On the one hand, he praised their disposition and expressed their political desire and class interest, which made the townspeople as a new motive force to the German Enlightenment. In addition, Lessing"s Enlighten. thoughts greatly influenced the following movement—Sturm Und Drang. The essence of Lessing"s thoughts is our common valuable prosperity.In a word. Germany then greatly needed a person like Lessing, and Lessing was the child of German Enlightenment.

面对法国文化长期统治德国文化界的现状，莱辛勇敢地站出来反对&法国化&倾向，对德意志全社会进行民族启蒙，通过戏剧理论及作品，表达了建立统一的民族文化、培植德意志民族精神的思想，同时他提倡世界主义，并用它来为民族主义服务，以反对当时德国的分裂割据；他的宗教哲学思想及宗教宽容精神继承和发扬了西欧的人文主义传统，反映了莱辛的理性观，也针砭了当时德国的时弊，是他对德国启蒙运动进行的有益的探索，拓宽了德国启蒙运动的深度；莱辛在实践中创作了市民剧，他的市民主义和现实主义美学思想弘扬了市民阶级的性格，表达了他们的政治愿望和阶级利益，为德国启蒙运动增加了新的动力，是莱辛所作的杰出贡献之一；莱辛的启蒙思想对后世特别是狂飙突进运动有着重大的影响，他的思想中的精华部分是人类的共同财富。

As a part of enlightening culture, the enlightening literature is definitely a window that publicizes the logos spirit, however, literature is different from philosophy, literature is the artistic transexpression of the Zeitgeist, but not the direct expression of the rational principles, in the eighteenth century the thought of natural logos brought the production of the free humanity of literature, Faust pursues and explores forward constantly, which stands for the permanent"human"spirit, it means the human's release and rein on the atman, it is the natural situation after breaking the fetters, and it is the revertion of the human natural inbeing; Naive man is the unit that has not been touched by"civilization", it is the origianl nature of human beings, during the conflict and collision of these two different cultures--"nature"and"civilization", it holds the independent free spirit homestead; emotion is natural, when the society made it institutionalized, it is catabolized, Lockersha Na heard the voice of heart under the system of plural marriage, she released the human natural emotion, reverted the natural humanity; under the"civilization", individuality is deprived,"civilization"becomes the contrary of civilization, Rameau's nephew championed the individual existence and freedom in the period of losing"self", it stands for the"self"shaping in the independent pose.

启蒙文学作为启蒙文化的一部分，它自然是张扬自然理性精神的一个窗口，然而，文学又不同于哲学，文学是对时代精神作艺术化的转达，而不是理性原则的直接的传声筒，十八世纪自然理性的思想养料孕育的是文学中自由人性的灿烂之花，浮士德不断地向上求索，代表着永不息止的&人&的精神，&人&的精神是人对于自我本体的一种释放与驾驭，是挣脱枷锁之后的自由状态，是对人之自然本性的还原；天真汉是未曾受过&文明&浸染的个体，代表人类之原本的自然天性，在&自然&与&文明&两种异质文化的冲突与碰撞中，维系着个体独立自由的精神家园；情感本属自然的，在社会将其制度化的同时，也将其异化了，洛克莎娜在一夫多妻制下，聆听的是个体心底之声，释放人之自然感情，复原自然之人性；&文明&下，个体性被剥夺，&文明&已堕入文明的对立面，拉摩的侄儿在&我&丧失的时代，捍卫了个体自我的在场性与自由性，代表了以独立个体之姿存在的&我&。

Among tragic novels,at first,by creating Unbalanced People,Hardy proved that at that time people were in division with society,nature,other people and theirselves,therefore,he made a new definition about """"people"""" and depicted the modern's basic outline:lonely,broken and pessimistic.Secondly,by courting persistently to """"Paganism Spirit"""",he not only criticized a great deal of drawbacks of Englightenment Modernityrdecrepit ethics,rigid reason,etc,but also drew the """"aesthetic""""prescription for the modern in predicament and called people to get back to t heir own existence,resume due status of perceptuality,impules and desire,etc.Thirdly,by profoundly conveying of pessimism,he revealed people's miserable situations under the violences of civilization and undependence after losing the God.Thus he refused the deformities of Enlightenment Modernity and enlightened people to look for new way of existence.At last,though dominated by realism,through the unique use of """"coincidence"""" and """"psychological depiction"""",his creation ,hi form,was somewhat similar with the modernism novels in the 20th century.

哈代在他创作的悲剧小说中，首先，通过对&非平衡性人物&的塑造，反映了当时的人们正处在与社会、自然、他人和自我的四重分裂状态中，由此他对&人&进行了重新的定义，描绘出了现代人的基本轮廓：孤独、破碎和悲观；其次，通过对&异教精神&的执着追求，他不仅批判了启蒙现代性的诸多弊端：衰朽的伦理道德、僵化的理性等等，同时，亦为困境中的现代人开出了&审美&的药方，呼唤人们回到自身的存在，恢复感性、冲动、欲望等的应有地位；第三，通过对&悲观主义&的深刻表达，他揭示了现代人的悲惨处境和失去上帝后的无所归依，从而拒绝了启蒙现代性的畸形规划，启示人们寻找新的存在之路；最后，虽然为现实主义所主宰，但通过&巧合&和&心理描写&手法的独特运用，他的创作又在形式上与20世纪的现代主义小说一脉相通。

From May 4th Movement of 1919 to the 1920s, sex love narrations in Chinese novels were rather an enlightenment and liberation in that particular era with four characteristics. Firstly, sexual desire was endowed with rationality with regard to liberation of human nature and mutual love. Secondly, with an epochal concern for a stronger and superior race, greater attention was paid to sexual parties concerned, mainly physically. Thirdly, new ethics on sex were promoted in that personal freedom on sex love was emphasized and sex love became an important way of self-fulfillment. Therefore, independence of sex love was advocated and the scope of sex love was also widened. Fourthly, the sex consciousness of this period had the mixed features of the past and the contemporary. Sex love narrations in the 1930s and 1940s showed a further exploration on the theme of human nature. First of all, sex was restored to a kind of desire. ShenCongwen probed the importance of harmonious sex love to a sound personality and Shi Zhecunrevealed that sexual inhibition could lead to the distortion, even frenzy of human nature. Bothexplored the influence and functions of sexual desire as human nature upon human personality,giving prominence to the irresistibleness of sexual desire and the significance of sexual desire asa motive. Then, human bodies driven by sexual desire were described and given greater attentionto. Next, ethics on sex were deconstructed either by Shen Congwen who opposed man-madeethics with law of nature and the School of New Sensation who replaced traditional ethics on sexwith exchange rules in consumption, or by Shi Zhecun who spared no efforts in representing thecomplete failure of social rules, including ethics on sex, due to the impact from sexual desire.The direct effect was a paleness of the ethical binding force on sex. Last, sex consciousness inthe works of female writers emerged. In the early works of Ding Ling, the sexual desire of thefemale is no longer a ramification of emotion but an independent one. In addition, in the sex lovenarrations of other female writers, such as Mei Niang, strong self-consciousness on the socialstatus of the female is also reflected. Sex love narrations in the late 1970s and early 1980s wereactually a re-enlightenment in the spirit of humanism, whose major features include humanisticlegitimation of sex love within the boundary of ethics, a blend of sex love narrations withnational concepts and national myths as well as the aesthetic, poetic descriptions of humanbodies etc. In the middle and late 1980s, sex love narrations entered a stage of exploration forpluralism. First, by restoration of sexual desire, writers of this era restored human nature, thevery original state of human being. Different emphasis and tendencies could be seen in differentwriters: looking at sex love dialectically and trying to describe its creative as well as destructivecharacteristics; connecting sex love with violence and trying to reveal the evil side of humannature through it; emphasizing the creativeness of sex love especially in the heritage of"wildness".

从&五四&到20世纪20年代，中国小说的性爱叙事是一种处在时代夹缝中的启蒙和解放，其所表现出来的特点，一是正面赋予性欲望以合理性，这种合理性是在人性解放和爱情前提下获得的；二是在强种育种的时代焦虑影响下小说性爱叙事表现出对物质身体的关注，其焦点主要在体格方面；三是树立起新的性伦理道德观念，表现为强调在性爱问题上的个人选择自由，性爱成为个人自我实现的重要方式，从而赋予人在性爱问题上的独立性，同时还扩大了性爱表现的领域；四，这个时期小说性爱叙事中所表现出的性意识还具有新旧杂糅的特点。30、40年代小说性爱叙事表现出对人性主题的深化与丌拓，首先是把性还原为欲望本身来探索，沈从文从和谐性爱对健全人性的决定作用、施蛰存从性压抑会导致人性扭曲甚至疯狂的角度探讨作为人类本质性欲望的性对人性产生的影响和作用，突出了性欲力量的不可抗拒和作为人类行为的重要动力等方面的内容；其次在叙事中表现出对欲望化了的身体的描绘与关注；第三是解构了性的伦理道德，无论是沈从文以自然法则来反对人为的道德设置还是新感觉派用消费交换原则替代传统性伦理道德，或是施蛰存极力表现包括性伦理规范在内的社会法则在性欲力量冲击下溃不成军，其直接的效果都是使性伦理道德对人的约束力量显得苍白虚弱；第四，出现了由女性作家表现的女性性意识，在丁玲的早期作品中女性的性欲望不再是作为感情的衍生物而是独立的欲望存在，而在梅娘等其他女作家的小说性爱叙事中则表现出对女性社会地位的强烈自觉意识。70年代末80年代初期小说的性爱叙事实际上是在人道主义语境下的再次启蒙，其主要特征一是性爱在人道主义前提下获得合法性，但要求性爱不超出伦理规定的范围；再就是将性爱叙事同国家观念和民族神话相融合；此外还有对身体的描写审美化诗意化等。80年代中后期，小说性爱叙事进入了多元化探索的阶段，作家通过还原性欲望来还原人性、还原人类的本真状态，不同作家笔下表现为不同的侧重和倾向——以辨证的方式看待性爱，写出其具有的创造性力量和毁灭性特征；将性爱与暴力相联系并通过其来表现人性的黑暗；强调性爱的创造性作用，尤其在民族&血性&的传承方面。