情感

TheTaiwanese eroticism is not easy to understand.

台湾人的情欲是不容易了解的，人们不善於表现情感。

In its more provocative versions, however, a performative view of SEXUAL DIFFERENCE abandons not only essentialist notions of identity and the allied evocation of a universal woman's or gay person's 'experience', but dismisses the controlling force of given social identities and the constrains upon the free play of subjective invention and re-invention.

然而，在其引起了更多争论的说法中，对性别差异的表演性观点，不仅放弃了关于身份/认同的本质主义观念，以及女性或同性恋普遍经验的情感共鸣，而且消解了对既定社会身份的控制力，解除了对主体性创造与再创造的自由游戏的束缚。

However, and in part as a consequence of the forced essentiality of the music, the work reveals musical and emotional depth and is one of his early masterpieces.

然而，在部分作为强制的音乐本质的结果，该作品显示出音乐与情感的深度，是其早期的杰作之一。

Don't forget that a person's great este motional need is to feel appreciated.

不要忘记一个人最伟大的情感需要是得到别人的欣赏。

Don't forget that a person's great este motional need is to feelappreciated.

不要忘记一个人最伟大的情感需要是得到别人的欣赏。

Dont forget that a persons great este motional need is to feel appreciate...

不要忘记一个人最伟大的情感需要是得到别人的欣赏。

And combine the psychological key element that aesthetic feeling produces, look for the aesthetic education tactics that the conditions and customs employ in the novel teaching of high school, read aloud—Aesthetic conditions and customs of esthesia; Imagination --Expand the aesthetic conditions and customs; Understanding -Produce the sympathetic response of the aesthetic emotion; Creation—Sublimate the thought and knowledge.

并且结合美感产生的心理要素，寻找高中小说教学中风情应用的美育策略，即诵读——感知审美风情；想象——拓展审美风情；理解——产生审美情感的共鸣；创造——升华思想认识。

Literature is historical, also is cultural, is still esthetic, and is emotional.

文学是历史的，也是文化的，还是审美的，更是情感的。

Especially, the "Etude" has no longer been simple practice, but an artistic work full of composers thoughts and emotion.

特别是"练习曲"这一体裁不再是单纯的技术训练，而是凝聚了作曲家思想情感的艺术作品。

The present investigation finds out that movement can highlight information, intensify specific emotions, viz. joy, amazement, irony, and grief, and create special communicative effects, viz. urgency and euphony.

研究发现移位能够突出信息，强化特定的情感，如喜悦、惊奇、讽刺和悲伤，以及产生特殊的交际效果，如渲染紧急的气氛和使诗歌和谐悦耳。

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。