怪诞

In light of Edgar Allan Poe's personal love experience,we find that many of his male characters undergo a psychological process from Oedipus complex to narcissism,to fetishism and to necrophilia while his female characters are primarily treated as "the other" who merely serves as the object for male observation and their exercise of sentimental intoxication,therefore the doomed

以爱伦·坡的情感经历作为参照，对其怪诞小说中的两性关系进行分析，我们发现作者笔下的男性经历着一个由恋母到自恋甚至恋物、恋尸的畸形心理演变过程；女性则多属于男性自我陶醉而创造的"他者"，这一角色定位和她们终被谋杀的厄运，都折射出男权思想的严酷。

In light of Edgar Allan Poe's personal love experience,we find that many of his male characters undergo a psychological process from Oedipus complex to narcissism,to fetishism and to necrophilia while his female characters are primarily treated as "the other" who merely serves as the object for male observation and their exercise of sentimental intoxication,therefore the doomed victim of murder when analyzing the gender relation in his grotesque tales.

以爱伦·坡的情感经历作为参照，对其怪诞小说中的****关系进行分析，我们发现作者笔下的男性经历着一个由恋母到自恋甚至恋物、恋尸的畸形心理演变过程；女性则多属于男性自我陶醉而创造的"他者"，这一角色定位和她们终被谋杀的厄运，都折射出男权思想的严酷。

In light of Edgar Allan Poe's personal love experience, we find that many of his male characters undergo a psychological process from Oedipus complex to narcissism, to fetishism and to necrophilia while his female characters are primarily treated as "the other" who merely serves as the object for male observation and their exercise of sentimental intoxication, therefore the doomed victim of murder when analyzing the gender relation in his grotesque tales. The fate of those female characters reflects the relentlessness of Poe' zs patriarchal ideology.

以爱伦坡的情感经历作为参照，对其怪诞小说中的两性关系进行分析，我们发现作者笔下的男性经历着一个由恋母到自恋甚至恋物、恋尸的畸形心理演变过程；女性则多属于男性自我陶醉而创造的"他者"，这一角色定位和她们终被谋杀的厄运，都折射出男权思想的严酷。

What drives me insane is the twofold nature of this nymphet — of every nymphet, perhaps; this mixture in my Lolita of tender dreamy childishness and a kind of eerie vulgarity, stemming from the snub-nosed cuteness of ads and magazine pictures, from the blurry pinkness of adolescent maidservants in the Old Country (smelling of crushed daisies and sweat); and from very young harlots disguised as children in provincial brothels; and then again, all this gets mixed up with the exquisite stainless tenderness seeping through the musk and the mud, through the dirt and the death, oh God, oh God.

3，叫我失去理智的是这个性感少女的双重性：我的洛丽塔身上混合了温柔的爱幻想的稚气和一种怪诞的粗俗；这种粗俗来自广告和杂志图片上那些忸怩作态的塌鼻子女郎，来自故国（含有踏碎了的雏菊与汗水的气味）的那些脂粉狼藉的青年女佣，也来自外地妓院的那些装扮成小姑娘的非常年轻的妓女。然后所有这一切又跟通过麝香与泥土、通过污垢与死亡渗出的那种纯洁美妙的温柔混合在一起，天哪，天哪。

They are like oracular messages, but witty-jaunty at times-and sometimes trembling on the edge of whimsy.

它们都像神谕，但很机智，有时极其轻快，有时又濒于怪诞。

Phoebus appeared as the Postillion of Lonjumeau and Minerva as a Norman nursemaid.

观众用一阵哄堂大笑迎接了战神，因为战神穿着一件瑞士海军上将的怪诞服装。

It's reflective of the rather bizarre political climate in which we operate.

它反映出我们所处的相当怪诞的政治环境。

Sovereign – a small wart visible at the base of the nose – and closes with a 1702 portrait by Hyacinthe Rigaud, the exalted royal shown in his twilight years and dressed in afantastical blue coronation robe.

展览以济安·洛伦佐·贝尼尼为这位年轻君主雕刻的一尊完美的大理石胸像作为开场（在雕像的鼻根处可以看到一个小小的肉赘），以 1702 年亚森特·里戈绘制的肖像结束（画中，这位已入暮年的尊贵君王身上穿着一件怪诞的蓝色加冕长袍）。

The exhibition opens with an idealized marble bust by Gian Lorenzo Bernini of the young sovereign – a small wart visible at the base of the nose – and closes with a 1702 portrait by Hyacinthe Rigaud, the exalted royal shown in his twilight years and dressed in a fantastical blue coronation robe.

展览以济安·洛伦佐·贝尼尼为这位年轻君主雕刻的一尊完美的大理石胸像作为开场（在雕像的鼻根处可以看到一个小小的肉赘），以1702 年亚森特·里戈绘制的肖像结束（画中，这位已入暮年的尊贵君王身上穿着一件怪诞的蓝色加冕长袍）。

This near rigor mortis functions as a ritualistic homage to the eerie strangeness of the West and to our spiritual or meditative associations with it.

这附近的严格性作为仪式参拜西方怪诞奇异临终职能，我们的精神或沉思协会与它。

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。