情感地

All the fear one has endured, the dissimulation one has been forced into, all the painful and degrading buffoonery,*（1.a ludicrous person,2.a jester, a mocker）and, worst of all, perhaps, the feeling of having displayed one's cowardice-all this settles and accumulates somewhere in the bottom of our social consciousness, quietly fermenting.

事实上没有什么东西被遗忘，一个人曾经忍受的恐惧，他被迫进入的掩饰状态，所有那些痛苦的和低下的插科打诨，也许，最坏的还是展示一个人怯懦的情感，所有这些将在我们社会意识深层的某个地方安家和积累，它们正在平静地发酵。

When it cornea to raw emotion. The once buttoned-up Brits are now happy to drop tears quite openly.

当触及到情感深处，一贯紧闭襟怀的英国人现在喜于公开地落泪。

If their dreams were bland," Cartwright says,"they hadn't started to work through their emotions and deal with the divorce.

如果他们的梦是乏味的，"卡特赖特说，"他们的情感无法很好地开始工作，并处理离婚。

This paper introduced the background of the opera Romeo and Juliet, the style of the composer and the characteristic of the dramatis personae, analyzed the method of expressing the emotion by singing its aria, elaborated mainly on the singing skill of the colorature part, so as to provide helpful suggestion for the learners of vocality.

通过对歌剧《罗密欧与朱丽叶》创作背景、作曲家的风格以及人物性格的分析，探讨了这首咏叹调在演唱中人物情感表现和技术运用的方法，并着重对作品花腔部分的演唱技巧进行了阐释，从而为声乐学习者更好地演唱这首脍炙人口的咏叹调提供一些有益的帮助。

But US" counter-insurgency" experts have had much experience and some success in manipulating national and ethnic sentiment into communalism and chauvinism, and against Marxist and revolutionary forces.

但是美国的"反叛乱"专家们可能在这方面更有经验，他们时常成功地操纵民族或种族情感，并使之转为地方自治主义和沙文主义以反对马克思主义与革命力量。

It is dangerous for us and the world when we don't constructively express this human emotion.

这是很危险的，我们和世界的时候，我们不建设性地表达这一人类的情感。

If a affective legacy is wonderful enough to continuator, he would have a everlasting spring. Then we should show our sensation.

然而，如果一份情感的遗产，足以让继承它的人恒久地享有春天，那么，我们不更应该奉上自己的感动吗？

Perhaps taking a hint from the chorus of boos filling New York City's Radio City Music Hall, West soon posted a meandering, all-caps apology to Swift on his website and continued his apology tour on NBC's Tonight Show, saying contritely that "it was someone's emotions that I stepped on, and it was rude, period."

随后，维斯特在自己的网页上，给斯威夫特发了一个委婉的，公式化的道歉帖子，并在NBC的《今夜秀》栏目中道歉，悔恨地说我践踏了他人的情感。

It was found that structural models of a swearing discourse possess 3 parts: the swearing appellation, the contumelious special swearing expression, and the auxiliary statement of swearing cause. Then 30 odd pragmatic functions were reported in the study that strongly display their competences in helping people, as those in Dream of the Red Chamber, to express their subtle feelings to the full in intricate situations and under complex mentality. Meanwhile, 4 pragmatic parameters were discovered in this analysis of data: the sex character of swearing explaining how sex as a pragmatic factor influences the speech act of swearing; the socio-cultural character of swearing which demonstrates how 8 aspects of socio-cultural elements affect the realization of swearing in English and Chinese; the courtesy character of swearing, and the psycho-cognitive character of swearing. Finally in terms of the responding strategies of swearing and their effects, the study evidenced that many strategies were used and that 3 possible types of effects were produced when confronting swearing: no response, expectant moderate response, and excessive response.

本文发现：詈骂言语行为的话语结构模式主要包括三部分，即詈骂性称呼语、侮辱性专门詈骂语和辅助性詈骂原因陈述；詈骂言语行为的语用功能，具体表现为30 多种，因而能够表达人们的复杂情感，《红楼梦》也借以淋漓尽致地表现各种人物的性格、心理和喜怒哀乐；构成詈骂言语行为的语用参数主要有四种，即詈骂的性别特征、詈骂的社会文化特征、詈骂的礼貌特征、詈骂的心理认知特征；人们在应对詈骂言语行为的时候，通常采用若干策略，产生三种可能的作用力，即不给予反应、预期的适度反应和过度反应。

In the current education of children's fine art, the adults mostly stiffly request the children to draw something they can not understand , just like singing crabbed songs, difficult to understand and unable to have in common the emotion sympathetic chord, also unable to express ones own mind , and the children's art potential is impossible to obtain the full display.

在当前的儿童美术教育中，成年人大多生硬地要求儿童画一些他们不能理解、成年人式的东西，这犹如唱一些艰涩难懂的歌曲，无法产生情感上的共鸣，也无法让孩子表达自己独特的感受，他们的艺术潜能也就不可能得到充分发挥。

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。