恐惧地

On film, he reminisces passionately of the fear he felt before setting out on his Trans-Arctic journey.

在影片中，他极为动情地回想起穿越北极之旅开始前所感觉到的恐惧。

But the life is just alike of the sea, it never lets us keep a slack hand. Underneath the calm surface there's some riffles. After the calmness, there comes the scenery and for the people, they always sense the danger and fear at the bump of the wave. When they reminds of their ignorance they need to fight back by the light of nature.

可生活如海啊，是不容让人懈怠的，平静的水面下暗藏的是急流，平静过去，又将是风景，而人往往也是在风浪的颠簸中才意识到危险感到恐惧，才想起自己的疏忽，才本能地需要抗拒。

But the life is just alike of the sea, it never lets us keep a slack hand. Underneath the calm su***ce there's some riffles. After the calmness, there comes the scenery and for the people, they always sense the danger and fear at the bump of the wave. When they reminds of their ignorance they need to fight back by the light of nature.

可生活如海啊，是不容让人懈怠的，平静的水面下暗藏的是急流，平静过去，又将是风景，而人往往也是在风浪的颠簸中才意识到危险感到恐惧，才想起自己的疏忽，才本能地需要抗拒。

E Asia and China, whereby men believe their penis is shrivelling completely into their body, with death the ultimate feared outcome.

在大多数情况下，全民歇斯底里症的事件发生在女性身上的几率似乎多于男性，但这绝对不是恐缩症的情况：据观察这种现象大多发生在亚洲东南部和中国，借此男人们认为他们的阴茎正完全地皱缩到体内，而这最终令人恐惧的结果便是死亡。

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。

You loved inducing cancer in my head, terrorizing my heart and ripping my soul all the time.

&你们只是喜欢看见我被放进坩锅被火焚化的感觉，你们只是喜欢永不停止地将癌细胞植入我脑袋，让我心生恐惧，失魂落魄·&

Conversely, in times of trouble and tension, when our spirits are low, unburdening our worries and fears to compassionate friends alleviates the stress.

相反地，当我们身处麻烦和压力当中，情绪低落的时候，向饱含同情的朋友倾诉忧虑和恐惧会减轻你的压力。

A sort of upset and up to terrified fancy uprises inevitably and slowly like mist, which blurs our approaches and whithers, and make us to stop our thinking.

一种令人怅然以至走入恐惧的想象，像雾霭一般不可避免地缓缓升起，模糊了我们的来路和去处，令人不得不断然打住思绪。

A sort of upset and up to terrified fancy uprises inevitably and slowly like mist,凤 which blurs our approaches and whithers,刞 and make us to stop our thinking.

一种令人怅然以至走入恐惧的想象，刪像雾霭一般不可避免地缓缓升起，凝模糊了我们的来路和去处，则令人不得不断然打住思绪。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。