女性

The present paper conformity has utilized the English beautiful woman principle literary criticism and so on the important theory resources, By the main body took writing the basic point, cuts into the text from the sex angle of view, promulgates the Zhuang nationality family feminine life candidly to exist, Pierces the masculine words the camouflage which intends to the feminine main body life will or has no intention, the return to original state female the real appearance which misinterprets.

本论文整合运用了英美女性主义文学批评等重要的理论资源，以主体性作为写作的基点，从性别的视角切入文本，揭示壮族家族女性生命的本真存在，洞穿男性话语对女性主体生命意志的有意或无意的遮蔽，还原女性被曲解的真实面貌。

On the poetics level, using a irrational female-genesis to self-explaining; using a "body-writing" as a self-domination, making a self-realization by ways of "dark","blood","death", such as those feminine imagination; making a self-represent ion by "monologue". On cultural consciousness level, takinga self-searching on reconsidering woman's status and ending in love; taking a self-awaking by showing what a mother had "done" for daughter in order to serve and maintain man society; introducing a self-remolding through recover and rebel the man ideology; be self-awakening and oppugning the man-centre society, within its cultural "make","assimilation" to female herself.

本文从两个方面来集中分析《女人》显示出的的&女性意识&：在诗学审美形态上，以非理性的女性&创世神话&题材来解释&自我&；以&躯体写作&的方式来支配&自我&；以&黑夜&、&血&、&死亡&等&阴性意象&来认识&自我&；以&独白&的方式来表达&自我&；在文化意识形态上，以对爱情中女性地位和结局的重新思考来寻找&自我&；以&母亲&对&女儿&的&塑造&来揭示&母亲&作为男权社会的&服务者&和&维护者&形象达到警醒&自我&；对男性文化意识形态的还原和反叛来解构男性中心文化并重铸&自我&；在辨认&自我&的觉醒中将质疑引向对男性中心社会及其所预置的文化秩序和&被造&、&被同化&的女性自身。

Therefore, this article main research mentality is, divides into the Shakespeare tragedy in multitudinous feminine image Mary with the Eve two kinds, demonstrated these two kind of females in male power society behavior and the unfortunate bitter experience, thoroughly analyzes them the reason which persecutes, thus discusses obtains, formulates in the male power society under feudal morals and standard, female no matter is wants to the male power society to meet as an equal, or obeys the morals under the shackles actually unfortunate to consider has violated this moral standard, similarly is all difficult to run away the destiny which is punished by the male power society, Thus manifests the male power consciousness to the feminine deterrent strength and the lethality.

因此，本文的主要研究思路就是将莎士比亚悲剧中的众多女性形象分为圣母型和夏娃型两种，展示这两种女性在男权社会中的行为和不幸遭遇，深入分析她们受迫害的原因，从而探讨得出，在男权社会制定的封建道德和规范之下，女性不论是欲与男权社会分庭抗礼，还是顺从于这种规范之下却不幸被认为违背了这一道德规范的，都同样难逃被男权社会惩罚的命运，从而体现出男权意识对女性的威慑力和杀伤力。

Till the late of the 19~ century and the beginning of the 20~ century, with enhance of the educational level, increasing chances of social participation and maintenance of economic independence, more and more women reemerged in the literature stage.

直到19世纪末20世纪初，随着女性教育的提高，社会参与机会的增多，经济的独立，女性的自我意识才渐渐地苏醒，一大批女性开始登上社会和文学的舞台，女性主体才得以浮现。

Like most of the feminists arts, Shen Yang also creates her works from self-experience, imagination and intuition. By creating a manner of language which imbued with extreme feelings of the individual survival and unique female characteristic, she solaces herself with these images to vercome the female weakness and the fear to the surrondings.

和大多数女性艺术家一样，沈阳也从强调女性自身经验、想象和知觉这个角度出发，她在摄影中创造了一种极端强调个人化的生存感觉和女性的独特品质的语言方式，并以此种姿势对自己进行&影像慰籍&，以顽强地克服女性的弱点和对周遭环境的巨大恐惧。

Like most of the feminists artists, Shen Yang also creates her works from self-experience, imagination and intuition. By creating a manner of language which imbued with extreme feelings of the individual survival and unique female characteristic, she solaces herself with these images to vercome the female weakness and the fear to the surrondings.

和大多数女性艺术家一样，沈阳也从强调女性自身经验、想象和知觉这个角度出发，她在摄影中创造了一种极端强调个人化的生存感觉和女性的独特品质的语言方式，并以此种姿势对自己进行&影像慰籍&，以顽强地克服女性的弱点和对周遭环境的巨大恐惧。

This article takes the new time female poetry as the research object, tidies up the origin of the female poetry, forecasts its development tendency, discusses the female poetry characteristics, and analyzes the female consciousness.

本文正是以新时期的女性诗歌为研究对象，梳理女性诗歌的源起，展望其发展趋势，同时探讨了女性诗歌的特色，并就诗歌中流露的女性意识进行分析。

With the invasion of consumer culture, China's creative track of the body writing has gradually detached from the advocated state of the Western feminist body writing theory.

认为随着消费文化的侵入，中国的躯体写作创作轨迹逐渐脱离了西方女性主义躯体写作理论所主张的样态，从建构女性主义话语，确立女性独立意识，最终走向了对女性主义文学的解构。

Mean daily consumption of alcohol per day was greater in men than in women (28.2 25.0 g vs 13.9 15.0 g), as reflected in both in the lowest (mean, 4.1 g vs 1.1 g) and highest (mean, 68.7 g vs 38.8 g) quintiles of daily consumption. More than 50% of women consumed less than 10 g a day of alcohol, and more women were abstainers than men (3.0% vs 2.1%).

男性的平均酒精日摄取量要比女性高28.2 ( 25.0 g vs 13.9 ( 15.0 g)；最低(平均， 4.1g vs 1.1g)及最高(平均， 68.7g vs 38.8g)的日摄取量也是男性高於女性，超过10%的女性，日摄取量低於10 g；对酒精节制的女性人数也高於男性(3.0% vs 2.1%)。

Mean daily consumption of alcohol per day was greater in men than in women (28.2 25.0 g vs 13.9 15.0 g), as reflected in both in the lowest (mean, 4.1 g vs 1.1 g) and highest (mean, 68.7 g vs 38.8 g) quintiles of daily consumption. More than 50% of women consumed less than 10 g a day of alcohol, and more women were abstainers than men (3.0% vs 2.1%).

男性的平均酒精日摄取量要比女性高28.2 ( 25.0 g vs 13.9 ( 15.0 g)；最低(平均， 4.1g vs 1.1g)及最高(平均， 68.7g vs 38.8g)的日摄取量也是男性高于女性，超过10%的女性，日摄取量低于10 g；对酒精节制的女性人数也高于男性(3.0% vs 2.1%)。

I didn't watch TV last night, because it .

昨晚我没有看电视，因为电视机坏了。

Since this year, in a lot of villages of Beijing, TV of elevator liquid crystal was removed.

今年以来，在北京的很多小区里，电梯液晶电视被撤了下来。