女性特征 - 网络例句 - 英语人，englisher

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。

It is female sexuality, she said, that is humanity's greatest force.

她认为女性特征是人类最伟大的力量。

For every woman who is called unfeminine when she competes, there is a man for whom competition is the only way to prove his masculinity.

只要有一个女人在竞技的时候被认为缺乏女性特征，定有一个男人只能靠对抗来证明他的阳刚。

After defining the feminine literary criticism from " Female Angle of View ", this paper gives the general description of the practice of Chinese literary criticism since 1900's as well as the analysis of individual characteristics, with the purposes of showing the spirit of creativity and vigorousness in it and giving a summarization of the deficiency in practicing. And all the work is done from three aspects:(1) Reconstruction and construction concentrating on the traditional literary criticism: that is to critique the masculinism in the traditional culture, to get the knowledge of the male writer's gender discrimination, and to find the source of feminine literature by the way of resistance-like reading.

本文从"女性视角"界定了女性主义文学批评的内涵，对20世纪以来中国女性主义文学批评实践，采用总体描述和个体研究特征分析相结合的方式，以彰显女性主义文学批评的学术创新活力、总结其实践中存在的不足为宗旨，从三个方面进行梳理整合：解构与建构，对传统文化的批判：批判传统文化话语中的男性中心主义，解读男性作家的性别歧视，运用抗拒式的阅读方式寻找女性主义文学传统。

Chapter 2 mainly discusses the commonness of the group, and studies the necessities of their creation commonness and how the assigned sculptures became the main way of the commonness emerging. Chapter 3 is mainly about the creation individuality of the group, and explores the characteristics and the development of their individuality. Chapter 4, from the angle of feminie study, discusses the feminie quality and femenie spirit in the works of the eight sculptresses. Finally, the writer tries to sum up the significance and value of the group study.

论文的第一章介绍了女雕塑家群体的概况，分析了群体形成的原因，并概括了群体的总体特征；第二章主要研究女雕塑家群体的艺术创作共性，分析了影响她们艺术创作共性的必然因素，由此探讨了任务性雕塑如何成为她们艺术创作共性显现的主要途径；第三章主要分析女雕塑家群体的艺术创作个性，探讨了她们艺术创作个性的特征和创作个性发展的多方面途径；第四章是从女性的角度来考察，讨论了她们艺术作品中的女性品质和女性精神；最后，本文总结了女雕塑家群体研究的意义和价值。

The first part is Introduction: research overview for "feminine consciousness" of The Book of Songs; Chapter 1: See "feminine consciousness" of The Book of Songs from the content of the text. Chapter 1 is divided into five minor points of conducts. Section 1: The life makes open hypostatically- free equal consciousness; Section 2: The desire of the soul integrity - love consciousness; Section 3: The realistic expectation of the marriage mode- the consciousness of hoping to get married; Section 4: The morals of the ethical relations marriage pursue- the good wife consciousness; Section 5: The instinct of the life value assurance- the consciousness of growing. Chapter 2: See "feminine consciousness" of The Book of Songs from the art appearance characteristic. Chapter 2 is divided into two minor points of conducts, section 1: With the females eye view thing: Female taste of the idea choice; Section 2: With the female's a feeling of heart: Female thinking mode of the woman keeps in well mind ". Chapter 3: The social source of the "feminine

论文主要分为四部分，即绪论：《诗经》女性意识研究综述；第一章：从文本内容看《诗经》的女性意识，分为五小节，第一节：生命本质的张扬——自由平等意识；第二节：性灵完整的渴望——爱情意识；第三节：婚姻模式的现实期待——盼嫁意识；第四节：人伦婚姻的道德追求——贤妻意识；第五节：人生价值的本能确定——生育意识；第二章：从艺术形态特征看《诗经》的女性意识，分为两小节，第一节：意象选择的女性眼光；第二节：&女子善怀&的思维模式；第三章：《诗经》女性意识产生的社会根源，分为四小节，第一节：原始群婚风俗的残余；第二节：礼制初成时期女性的相对自由；第三节：尊男卑女的社会文化制度；第四节：战争徭役带来的男女失衡。

People is the most important factor in design. With female the subject, this paper firstly analyzes the physiological characteristic, psychological characteristic, aesthetic psychology, consumer psychology and behavior in detail to grasp the female characters and sexual differences, and career women are then circumstantiated as a precisely classified group of people.

人是设计中最重要的元素，本文以女性为研究对象，首先对女性的生理特征、心理特征、审美心理和消费心理及行为方式进行详尽分析，掌握女性各方面特征及性别差异性，并以职业女性作为代表性的特别说明的更细分群体。

The explanation usually advanced for this is that macho men will provide the sperm needed to make sexy sons, but the more feminised phenotype makes a better carer and provider—in other words an ideal husband.

对此类现象的解释多为传统的壮男们可以提供生产优秀后代的精子，但是女性特征的表型带来一位更好的照料者和供给者——换句话说一位理想的丈夫。

Though women prefer traditionally macho men at the time in their menstrual cycles when they are most fertile , at other times they are more attracted to those with feminine traits such as tenderne ss , considerateness and kindne ss , as well as those with feminised faces .

虽然女人们在受孕的生理期间，容易对传统的糙汉子们倾心，但是在其他一些时候，她们会对拥有诸如温柔，体贴和仁慈等女性特征，甚至长的&女孩儿&脸的男性青睐有加。

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。