情感地

And a break in an English friendship comes not necessarily as a result of misjudgement, where one fr ie nd seriously misjudges how the other will think or feel act, so that suddenly they are out of step.

此外英国人友谊的中断并不是由于见解不同或情感不和造成的，而是由于判断失误造成的，一个人可能会很严重地对另一个人的思维方式、感受或行为方式做出了错误的判断，于是彼此间突然变得不默契。

And I know that we distrust one another all the while, and instinctively conceal or misrepresent our actual thoughts and emotions when there is no very apparent need.

我还知道我们始终互不信任，在没有明显的需要时，我们会本能地隐藏或掩饰我们真实的思想和情感。

In fact, my memory to the native home comes from these abstract emotion inside, just like I still staying mistily in the memory around 9 years ago when returning to native home for the only trip home; as if the adults were all very young and the sisters and brothers were innocent children.

其实我对老家的记忆来自这些抽象的情感里，具象仍停留在九岁内年唯一次回老家模糊地记忆中，大人都很年青，姐妹们哥哥弟弟们都还是天真的小孩子。

In the process of network teaching inevitably creation various emotion of exchanges.

在网络教学的过程中不可避免地产生了各种情感的交流。

If your nudity doesn't bother you, you are more comfortable with your self expression.

如果梦中裸体没有烦扰到你，那你将更加坦然地面对自己的情感。

More than anything else in the film, Nullah included, Ms. Kidman tethers "Australia" to the world of human feeling and brings Mr. Luhrmann's outrageous flights of fancy down to earth.

基德曼成功地将"澳大利亚"这个宏大的话题跟个人情感牵系在一起，让导演鲁尔曼时而疯狂的电影语言回归地面，在这方面，她甚至比努拉还起到了更大的作用。

The work of American writer Sarah Orne Jewett similarly displays an intimate and affectionate knowledge of her New England region, at the same time reflecting the perspective of one who is aware of the formations of modernity and who represents the local in counterposition to them.

相类似的，美国女作家朱伊的作品表现出她对新英格兰亲密、情感深厚之认识，同时又反映出她对现代化形成的观点，并在作品中再现在地，作为对现代化形成之相对立场。

S 揘ew Year? s Sacrifice?, this novel embodies 搇ife is all painful? because Sister Xianglin suffers a lot in her life; Juan Sheng in 揗ourn the Dead? leads a life devoid of meaning both before and after the death of Zi Jun, and he can? t escape from his emptiness; Lun Xun conveys his strong emotions and cries out against injustice in his novel 揗edicine? by way of making the ghost? s presence felt;揕oners? reflects inner loneness and pain, and manifests the creed of Buddhaism: Life is death, death is life;揥eeds? and 揅all to the Arms? sighs with feeling for life? s emptiness however, it also stronglyresists life? s emptiness. XuDishandwellson life? s emptiness in his book 揘atural Moutain and Rain?

鲁迅的《祝福》中满篇弥漫着佛教的袅袅轻烟，祥林嫂的遭遇使她受尽了人生的苦难，体现了佛教所宣扬的"人生皆苦"；在《伤逝》中，涓生在子君活着和死后都始终感到人生的空虚，无法摆脱；小说《药》结尾处借用佛教显灵的艺术手法抒发作者的情感，为革命者鸣不平；《孤独者》更是体现了内心的孤独和痛苦，表现了佛教生即死、死即生的轮回观点；《野草》、《呐喊》既感叹人生的虚无，又强烈地反抗虚无。

Sadly there is often some of the feelings of Simon the Pharisee in all of us.

我们很悲哀地看到，这种法利赛人西门般的情感常常出现在我们每个人中间。

As a part of enlightening culture, the enlightening literature is definitely a window that publicizes the logos spirit, however, literature is different from philosophy, literature is the artistic transexpression of the Zeitgeist, but not the direct expression of the rational principles, in the eighteenth century the thought of natural logos brought the production of the free humanity of literature, Faust pursues and explores forward constantly, which stands for the permanent"human"spirit, it means the human's release and rein on the atman, it is the natural situation after breaking the fetters, and it is the revertion of the human natural inbeing; Naive man is the unit that has not been touched by"civilization", it is the origianl nature of human beings, during the conflict and collision of these two different cultures--"nature"and"civilization", it holds the independent free spirit homestead; emotion is natural, when the society made it institutionalized, it is catabolized, Lockersha Na heard the voice of heart under the system of plural marriage, she released the human natural emotion, reverted the natural humanity; under the"civilization", individuality is deprived,"civilization"becomes the contrary of civilization, Rameau's nephew championed the individual existence and freedom in the period of losing"self", it stands for the"self"shaping in the independent pose.

启蒙文学作为启蒙文化的一部分，它自然是张扬自然理性精神的一个窗口，然而，文学又不同于哲学，文学是对时代精神作艺术化的转达，而不是理性原则的直接的传声筒，十八世纪自然理性的思想养料孕育的是文学中自由人性的灿烂之花，浮士德不断地向上求索，代表着永不息止的"人"的精神，"人"的精神是人对于自我本体的一种释放与驾驭，是挣脱枷锁之后的自由状态，是对人之自然本性的还原；天真汉是未曾受过"文明"浸染的个体，代表人类之原本的自然天性，在"自然"与"文明"两种异质文化的冲突与碰撞中，维系着个体独立自由的精神家园；情感本属自然的，在社会将其制度化的同时，也将其异化了，洛克莎娜在一夫多妻制下，聆听的是个体心底之声，释放人之自然感情，复原自然之人性；"文明"下，个体性被剥夺，"文明"已堕入文明的对立面，拉摩的侄儿在"我"丧失的时代，捍卫了个体自我的在场性与自由性，代表了以独立个体之姿存在的"我"。

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。