情感

O Arjuna, know that the mode of passion is the source of lust and attachment and the producer of desire for sense gratification and sentimental infatuation; that enslaves the embodied consciousness by attachment to fruitive activities.

阿诸那啊，你要明白，欲望情感是性欲，爱恋，以及产生感官享受和情感迷醉的根源，它通过对获利行为的依恋而奴役束缚了体内的自我意识。

Eunice Verstegen of Seattle, a program manager for a large county agency, says her upbringing in Wisconsin prevented her from voicing her true feelings with her first husband, who was her polar opposite politically, emotionally and even gastronomically.

尤妮思·沃斯特根来自西雅图，在一家大型县级公司担任项目经理，谈到她与第一任丈夫在政治意见，情感表达甚至饮食习惯方面背道而驰，然而由于她在威思康星州接受到的良好教育，使她很难对其表达出真实的情感，。

Eunice Verstegen of Seattle, a program manager for a large county agency, says her upbringing in Wisconsin prevented her from voicing her true feelings with her first hu**and, who was her polar opposite politically, emotionally and even gastronomically.

尤妮思·沃斯特根来自西雅图，在一家大型县级公司担任项目经理，谈到她与第一任丈夫在政治意见，情感表达甚至饮食习惯方面背道而驰，然而由于她在威思康星州接受到的良好教育，使她很难对其表达出真实的情感，。

The second one is vague and depressed, heavyhearted and melancholy such as Hetangyuese and Jiangshengdengymlideqmghuaihe.There are four aspects that consist of the style of language rhythm in Zhu Ziqings proses: Firstly, image language description shows the style of language rhythm and coincide with his subtle feelings.

朱自清散文语言的音乐美表现在四个方面：一是表现在他散文的意象性语言的描绘中，朱自清极善于把意象化的画面转换同主观情绪、情感的变化有机揉和在一起，使读者感受到一股含蓄深隐的情绪、情感之流，听到源于作者灵魂深处的心灵之声。

The patient has had at least one authenticated hypomanic, manic, or mixed affective episode in the past, and at least one other affective episode (hypomanic, manic, depressive, or mixed) in addition, but is not currently suffering from any significant mood disturbance, and has not done so for several months.

过去至少有一次躁症或轻躁症或混合型情感发作并且至少还有其他一次情感障碍症发作（轻躁症、躁症、郁症或混合型），但现在并无任何的情绪障碍，无症状至少几个月以上。

Disorders characterized by a change in mood or affect, usually accompanied by a change in the overall level of activity, depressive, hypomanic, manic or bipolar (see F30-F32), but arising as a consequence of an organic disorder.

以情绪或情感改变为特徵之疾病，通常合并整体性活动量之改变，忧郁、轻躁、躁症或双相症(F30-F32)，但只肇因於器质性之疾病*不包含：情感障碍症，非器质性或未明示的 F30-F39

In the point of view of Chinese aesthetics, contingency is defined as a way of thinking in which the subjects in artistic creation have theaesthetic image suddenly and not intendedly, which is led by the changes of outside world and arouses emotion and creative impulse of the subjects.

从中国美学角度来看，偶然指艺术创造主体赖以激发审美情感、创＿作冲动，并在不经意间形成审美意象的一种突发性的思维方式，是以客观外物的变化触失主体情感为前提条件的。对于偶然性创作契机的发生机制，中国古代美学是从审美主客体的触遍感发的思路来阐释的，这就是审美感兴论的传统。

However,this kind of human feeling without objectivenecessity can not guarantee that human's behavior accords with the principle of"moral".So the dominators and thinkers,who use theConfucianism to dominate country,have to objectify and logicize the subjectivefeelings,that is to say,to restrict the individual sensual feature and freedom.

但这种无客观必然性作框架依托的人的主观情感，无法保证人的行为必然符合&善&的原则，采用儒家思想作为治国方略的统治者及其思想家必须致力于把主观心理情感认可的信念及主张外在化、对象化与知性化，也就是说，限制个体的感性特征与自由。

The students experiences echo those found in previous studies relating to the socialization of student nurses and emotional labour (Melia, 1987. Learning and Working. The Occupational Socialization Nurses. Tavistock Publishers, London; Smith, 1992. The Emotional Labour of Nursing. Macmillan, London).

学生的体验回应了以往关于学生护士社会化和情感疲劳的研究结果（Melia， 1987，学习与工作，职业化的社会化护士，Tavistock Publishers， London； Smith， 1992；护士的情感疲劳，Macmillan， London）。

Both English and Chinese follow the same metonymic principle: they talk about emotions by describing their physiological effects.

这两种语言都遵循同样的原则：都是以描述由这种情感所产生的生理反应来表达这种情感。

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。