情感

These are questions of great significance, as well as the principal issues this article will discuss. This paper includes 5 studies. Study 1-4 examines the implicit attitude and explicit attitude toward state-owned enterprises and foreign enterprises by self-report questionnaire, implicit association test, affective misattribution procedure and affective priming procedure respectively.

本文共包括5个研究，在前4个研究中，分别使用外显态度量表、内隐联想测验、情感错误归因程序和情感启动程序测量在校研究生对国企/外企两类组织的外显态度、内隐态度和内隐刻板印象。

Secondly, the thesis tries to find out aspects on the works of art that are on the surface of impersonal existence, associated with art and people, and most likely to draw people's attention other than their reality. These aspects are images and forms, especially the using of lines, which is the most living form in my study of Chinese painting. The topic extends from the using and exhibition of lines in the sketching and art creation, further to the intuition, which is the way and measure of obtaining the form of the works of art. Intuition is a nonfigurative emotional activity that melting the sensibility and logos of human being. The thesis discloses that emotion is the momentum of art intuition.

然后试图找到艺术作品这一客观实物上最为表层的、与艺术、与人相关的，除了它的实在以外最容易被关注的部分---形式，尤其是我所学习的中国画中，线这一最具生命感的形式，在花鸟写生和创作中的运用和体现，进而深入到艺术作品的形式获得的途径和方法---直觉，这种人类感性和理性相融合的情感的复杂抽象活动，并揭示出艺术直觉的动因是情感，人们为了满足某种心灵的需要而进行艺术的直觉和积累。

Researchers' skepticism is fueled in part by their professional aversion to anothropomorphism, the very nonscientific tendency to attribute human qualities to nonhumans.

人格化是把人类的特性强加到非人类事物上的非常不科学的做法。引起情感的；表示情感的

Philosophers have, of late years, considered chiefly thetendency of affections, and have given little attention to the

近年来，哲学家们的研究主要集中于情感的倾向性，几乎没有留意情感及其成因之间的关系。

Good times, bad times. I try not to be one sided when I write, I try to cover all the emotions.

在我写歌的时候，我尽可能倾注所有的情感，而不只是局限于一种情感中。

In the onlooking, natural all phenomena on earth changing does not arrest, touches our innermost feelings unceasingly, affects our emotion; But the onlooking is person's one behavior after all, receives person's control and the influence, human's cognition, the disposition and the emotion and so on can in turn the instruction onlooking.

在观看中，自然万象流变不拘，不断触动我们的内心，影响我们的情感；但观看毕竟是人的一种行为，受到人的控制和影响，人的认知、心性和情感等等都会反过来指导观看。

We lives for the last, in fact we've been far from each other. Your emotion is decide by your selection. Live for yourself, your love could be fresh, no matter what kind of love which's just like a string, who touch it is who you love. Every stage makes different Orphean strains and different romance.

固执的追寻过去的爱情，其实彼此早已相去甚远，你的选择决定着你的情感，为自己活着，情感才能活着，不管什么样的爱情，其实都只是心中的一根弦，被谁拨动了，谁就缔造你的爱情，人换了，旋律也换了，感觉也就变了。

Metaphor is part of sense and emotion of human beings, and the outspread and supplement of ideality and emotion of human beings.

隐喻是人类理性和情感的一部分，是人类理想和情感的扩张和补充。

Few people can undertand us, but we have know the best way to get free from sorrow is our coming desire, imagination and overripe emotions.

痛苦常常是自找的，欲望想象追加给人痛苦，除此之外，生活中的一些情感也是痛苦的根源，当我们懂得＂岁月不待人＂时，我们可能是痛苦的；当我们听到友人的告辞时，我们也许是痛苦的；当我们尝到寂寞如酒时，我们也许是痛苦的；当我们想起碌碌无为时，我们也许是痛苦的，很少有人会理解我们，但我自已知道脱离痛苦的最好方法是摆脱欲望，想象和颓废的情感。

The essence of art lies in the successful transformation from pathos experience to an aesthetic form.

艺术中的感伤源于感伤主体的"情感内省"，这种情感的内省能力使他们对现实中人、事的变化有着比一般人更深刻的体味。

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。