庸俗的

What Orwell feared were those who would ban books. What Huxley feared was that there would be no reason to ban a book, for there would be no one who wanted to read one. Orwell feared those who would deprive us of information. Huxley feared those who would give us so much that we would be reduced to passivity and egoism. Orwell feared that the truth would be concealed from us. Huxley feared the truth would be drowned in a sea of irrelevance. Orwell feared we would become a captive culture. Huxley feared we would become a trivial culture, preoccupied with some equivalent of the feelies, the orgy porgy, and the centrifugal bumblepuppy.

奥威尔害怕的是那些强行禁书的人，赫胥黎担心的是失去任何禁书的理由，因为再也没有人愿意读书；奥威尔害怕的是那些剥夺我们信息的人，赫胥黎担心的是人们在汪洋如海的信息中日益变得被动和自私；奥威尔害怕的是真理被隐瞒，赫胥黎担心的是真理被淹没在无聊烦琐的世事中；奥威尔害怕的是我们的文化成为受制文化，赫胥黎担心的是我们的文化成为充满感官刺激、欲望和无规则游戏的庸俗文化。

Part I :the definition of officialdom novels ,the insightful discussion of the development of them ,and the primary analysis of the reasons of their flourishing ;Part II :the construction of subject matters of officialdom novels by probing analysis into official corruption ,official and social psychologies ;Part III: the of artistic features of characters and narrative (i.e. narrative perspective constructions ,discourse and ironical narration ),which are illustrated by the positive characters with personalities ,negative ones with complex characteristics ,more importantly ,the vulgar existence ofgray characters ,the discovery of features of narrative methods with the contract of two types of novels ; Part IV: the positive comment on the realistic rules of officialdom novels and the surpassing of the previous ones ,the shortcomings from the artistic perspective : the adoption to the reality seriously fetters artistic imagination of literature works ,it also reads to the lacking of insightful thinking ,the simple characters fail to reveal artistic glamour ,the routinized narrative methods also degrades the artistic savor of works .

第一部分，界定官场小说的内涵，并对它的历史发展，对其在当下繁荣的原因做初步的探析；第二部分，从官场小说对官场腐败、官员内心世界和社会文化心理等方面的揭示考察其主题构成；第三部分，从人物形象、叙事方式(叙事视角、叙事结构、反讽叙事、叙事话语)等分析官场小说的艺术表现特征，指出官场小说不仅塑造了性格鲜明的正面人物，也真实刻画了具有复杂人性的反面角色，更重要的是展现了官场灰色人物的庸俗生存，并通过两类不同类型小说的对比，揭示其各自不同的叙事特征；第四部分，充分肯定官场小说的现实主义价值，及其对前期官场小说的超越，并从小说艺术角度指出其存在的严重不足：小说对现实的屈从束缚了作品的艺术想象力，使小说缺乏深厚的思想内蕴；人物形象也显得单薄，无法产生感人的艺术魅力；叙事的模式化也大大降低了作品的艺术品位。

Spare me, therefore, your good intentions, your inner sensitivities, your unarticulated and unexpressed love. And spare me also those tedious psychohistories which—by exposing the goodness inside the bad man, and the evil in the good—invariably establish a vulgar and perverse egalitarianism, as if the arrangement of what is outside and what inside makes no moral difference.

因此，别对我说你的动机如何善良，你的心灵如何敏感，你那未曾表示的爱其实如何深沉，也别向我讲述你那些冗长沉闷的心理个案——那套把戏无非是专门挖掘坏人内心之善、好人内心之恶，其结果无非是一种庸俗荒谬的无差别主义，仿佛外在的行为与内心的动机没有任何道德上的差异。

Within there are Jews from Jerusalem who are tearing each other in pieces over their foolish ceremonies, and barbarians who drink and drink and spill their wine on the pavement, and Greeks from Smyrna with painted eyes and painted cheeks, and frizzed hair curled in columns, and Egyptians silent and subtle, with long nails of jade and russet cloaks, and Romans brutal and coarse, with their uncouth jargon. Ah! how I loathe the Romans! They are rough and common, and they give themselves the airs of noble lords.

在筵席上，从耶路撒冷来的那些犹太人，总是为他们那些无聊的仪式争争吵吵，恨不得把彼此撕成碎片；有些野蛮人老是没完没了地喝酒，还把酒洒得满地；从士抹拿来的希腊人画了眼睛，涂了面孔，头发烫成一串串圆筒；阴险沉默的埃及人戴着玉石的长指甲，穿着棕红色的袍子；粗鲁野蛮的罗马人满口奇怪的土话，啊，我多讨厌那些罗马人，又粗野，又庸俗，却摆出一副贵族老爷的神气。

China, zhejiang longquan concentric handicraft department, We are specialized in producing, selling, processing, and the international trade purchasing handicraft, we present a new product is mainly, artificial natural jade products, new product characteristics, glittering and translucent, amber, purity transparent qualitative, utmost noble character, fashion, and contemporary through a national quality technologysupervision bureau of quality and new product authentication, non-toxic, no radiation, safety, environmental protection etc, and the production and sales of bamboo and wooden crafts, natural and supplies, also, the production and business operation characteristic of traditional sword, zhejiang longquan, celadon porcelain products is the Chinese celadons of a piece of treasure, longquan sword tenacity, soft and combine, sharp, decorative pattern of vulgar opportunely features of for Chinese celadons longquan, passing, sword has long history of cultural inheritance.

，浙江龙泉同心手工业部门，我们是专业生产，销售，加工，国际贸易采购工艺品，我们提出了一种新的产品主要是，人工天然玉石产品，新产品的特点，晶莹剔透，琥珀，纯度透明的质量，最崇高品德，时尚，和当代通过国家质量质量technologysupervision局和新产品的认证，无毒，无辐射，安全，环保等，以及生产和竹木工艺品，自然销售和用品，也生产和经营的传统剑的运作特色，浙江龙泉青瓷产品是一种财富片断的中国青瓷，龙泉宝剑&坚韧，柔软结合，锐利，庸俗适时的功能装饰图案&的中国龙泉青瓷，传球，剑具有悠久历史文化的传承。

China, zhejiang longquan concentric handicraft department, We are specialized in producing, selling, processing, and the international trade purchasing handicraft, we present a new product is mainly, artificial natural jade products, new product characteristics, glittering and translucent, amber, purity transparent qualitative, utmost noble character, fashion, and contemporary through a national quality technologysupervision bureau of quality and new product authentication, non-toxic, no radiation, safety, environmental protection etc, and the production and sales of bamboo and wooden crafts, natural and supplies, also, the production and business operation characteristic of traditional sword, zhejiang longquan, celadon porcelain products is the Chinese celadons of a piece of treasure, longquan sword "tenacity, soft and combine, sharp, decorative pattern of vulgar opportunely features of" for Chinese celadons longquan, passing, sword has long history of cultural inheritance.

登录后回答可以获得经验值奖励，并可以查看和管理所有的回答。登录|中国），浙江龙泉同心手工业部门，我们是专业生产，销售，加工，国际贸易采购工艺品，我们提出了一种新的产品主要是，人工天然玉石产品，新产品的特点，晶莹剔透，琥珀，纯度透明的质量，最崇高品德，时尚，和当代通过国家质量质量technologysupervision局和新产品的认证，无毒，无辐射，安全，环保等，以及生产和竹木工艺品，自然销售和用品，也生产和经营的传统剑的运作特色，浙江龙泉青瓷产品是一种财富片断的中国青瓷，龙泉宝剑&坚韧，柔软结合，锐利，庸俗适时的功能装饰图案&的中国龙泉青瓷，传球，剑具有悠久历史文化的传承。

They have audaciously adjusted, in the name of "good taste," upon the wounds of gothic architecture, their miserable gewgaws of a day, their ribbons of marble, their pompons of metal, a veritable leprosy of egg-shaped ornaments, volutes, whorls, draperies, garlands,fringes, stone flames, bronze clouds, pudgy cupids, chubby-cheeked cherubim, which begin to devour the face of art in the oratory of Catherine de Medicis, and cause it to expire,two centuries later, tortured and grimacing, in the boudoir of the Dubarry.

时之所尚，甚至打着风雅情趣的旗号招摇过市，厚颜无耻地在峨特艺术的伤口上敷以时髦一时的庸俗不堪的各种玩艺儿，饰以大理石饰带，金属流苏，形形色色的装饰，卵形的，涡形的，螺旋形的，各种各样的帷幔、花彩、流苏、石刻火焰、铜制云霞、胖乎乎的小爱神、圆滚滚的小天使，总之，真正的麻风病！它先是开始吞噬卡特琳·德·梅迪奇斯小祈祷室的艺术容颜，两百年后，继而在杜巴里夫人小客厅里肆虐，使其建筑艺术在经受折磨和痛苦之后，终于咽气了。

They thought symbolism is a deep existence, art is a methode. The human being can get rid of the vulgar in common life and access the other world in religion with symbolistic feeling way and symbolistic living way, in this way Russian symbolism reflects that human being conquers the objectivity as the subjectivity and he exceeds his spirit.As a symbolistic poet representing the characteristic greatness of his own nationality, the biggest difference between Blok"s works and other symbolists" consists in that he always and totally realized the tendency of sublimity in his symbolistic system, and developed the symbolistic degree in the fields of subjectivity and objectivity and the relationship between them.

认为象征是一种更深层的存在状态，艺术是手段，人只有以象征主义的感知方式和生活方式才能摆脱日常生活的庸俗而走向宗教化的彼岸世界，因此俄国象征主义反映了人作为主体对客体世界的征服和自我精神的超拔和更新勃洛克作为一位体现着本民族特色的伟大的象征派诗人，其创作与其他象征主义诗人最大的差别就在于在他的象征主义体系中始终而完满地实现了崇高的美学倾向，并且在主客体及二者的关系三个方面发展了崇高的象征主义维度。

Part two: Main body, expounds the development of the new period fiction"s introduction from, reference to and fusion with western modernistic fiction, of the breakthrough of the original aesthetic norms and of conducting the "modernity" of the new research of fictional style. The development is as follows: beginning from exploring the artistic forms and skills, it self-examines the history, searches for the meaning of life, and calls for the realization of certain "personality", i.e. spiritual freedom; then, adopts the spirits of modernistic literature, searches for and sublates our national traditional culture; cares for the modern people"s specific mental states and makes inquiries for the meaning of life; then, revolutionizes the textual narration, reveals the doubt about the man"s subject exposed in the theme of works, describes directly the problems of the man"s subject itself, inquires the reality and possibility of the subject"s being, and uncovers the complexity of the modernistic central proposition: man"s anxiety and his essence.

本论部分，论述新时期中国文坛对西方现代主义借鉴、吸纳、融合，突破原有的审美规范，进行小说文体新实验的发展历程——即从艺术形式、艺术技巧的探索开始起步，反思历史、探索&人&的意义；在对民族传统文化的寻找与扬弃中，重建民族的&文化&主体，以走向现代世界；关注现代人的精神状况，揭示社会的贫乏、专横、庸俗、虚伪和窒息的一面，寻求生命的意义与价值；通过文本的叙述革命，揭示作品对人这一主体的怀疑，在小说中直接描写&人&本身所存在的问题，以及人自身本质的复杂性；对城市化、世俗化生活的窥望与期冀，对其作品中多元化的欲望进行透视，揭示当今社会中人的现代主义的虚无与后现代式的焦虑，指出其书写的局限与精神提升；论析女性作家&个人化&躯体写作的意义、特色以及女性作家个人化写作的精神困境。

From this part, we should understand the course which people have realized the function of consumption in east and west economics, especially the long-time discuss on the relation of consumption and production. In the west economics, there are Adam Smith, David Ricardo, Boisguilbert, Quesnay, Turgot, Sismondi and so on in the classical economics; Say, Malthus in the philistine plutonomy; Marshall, Pigou, Veblen, Pareto and so on in imperialist period; Keynes, Rostov, Mole and so on in the modern west economics.

西方经济学中关于消费的思想从历史来看，主要包括：古典经济学中亚当·斯密、李嘉图、布阿贝尔吉尔、魁奈等人的消费思想和西斯蒙第的&消费居先论&；庸俗政治经济学中法国的萨伊、英国的马尔萨斯等人的消费思想；帝国主义历史时期马歇尔、凡勃伦等人的消费思想；现代西方经济学中凯恩斯、罗斯托、莫尔、加尔布雷茨等人的消费思想。

On the other hand, the more important thing is because the urban housing is a kind of heterogeneity products.

另一方面，更重要的是由于城市住房是一种异质性产品。

Climate histogram is the fall that collects place measure calm value, cent serves as cross axle for a few equal interval, the area that the frequency that the value appears according to place is accumulated and becomes will be determined inside each interval, discharge the graph that rise with post, also be called histogram.

气候直方图是将所收集的降水量测定值，分为几个相等的区间作为横轴，并将各区间内所测定值依所出现的次数累积而成的面积，用柱子排起来的图形，也叫做柱状图。