情感地

Certe, quidem do not have the brevity and the harmony of the Spanish, Italian, and Portuguese si and the French si , when the latter substitutes for oui in the most expressive sentences; si in singing, a musical note, an arpeggio of the flute, a bird's trill, noble and good for melody, for rhythm, for dreaming, for love: more for the protest and impetus, for the paroxysm, for wrath, for anathema, for dry fulminating hate, like the scratching of a ray of light, the no is far better, the rude, bitter O vast, like a roar, round and ardent like a chaos producer of life through the conflagration of all the forces of the abyss.

拉丁语中的肯定回答"Certe quidem"不如西班牙语、义大利语、葡萄牙语和法语中的肯定回答"si"那麼简洁和谐。法语中的"si"在最富有情感的情况下取代了"oui"，表示"是的"。"si"在音乐中是音符"7"，是长笛的琶音，乌的颤音，极适用於美妙的音乐、韵律、梦幻和爱情的表达。而要表达抗议、冲动、情感的突然发作、愤怒、诅咒、憎恨这一类像划火柴点火那样瞬间爆发的情感，否定回答"No"要比肯定回答适用得多。"No"中的"o"粗鲁、嘹亮、热烈，像怒吼，像给世界造成大乱的深藏在地底下的雷霆万钧之力突然爆发。

Everybody knew that the network is hypothesized is not The real on-line joyful world is only in the spiritual homeland surfer only thinks with ease, although This kind of so-called relaxedness is short actually can also take to a soul respite the space to look for for the exhausted body and mind Relaxation corner However I am not good at before the human revealing my emotion on-line actually not to want to wrap from Oneself always hoped that could find a speech the space to let sentimental the pulse swing along with the network hypothesized metre Unloaded an all accidental click unexpectedly to become in my heart's stories and the sentimental one kind captures Clicked however from the network to the dear friend meets always such carelessly unexpectedly had in the unconscious center Hope worrying with lovesickness On-line sentiment hypothesized also is very by no means real regarding me The emotion really will also seize Will make person unexpectedly to worry and to believe that one will not be the human who understood very much Meets your my heart to fly upwards is being unable to know in advance What is joyful perhaps painful but I has been thinking.

大家都知道，网络是虚拟，是不是真正上线欢乐的世界，只有在精神家园冲浪者认为，只有与安心，虽然这一种所谓relaxedness很短，其实也可以采取一个民族的灵魂，喘息空间，以期待为，为疲惫的身体和心理放松的角落，但我并不善于前人类揭示了我的情感上线，其实并不想打下来，从自己一直希望能找到一个讲话的空间，让感性的脉搏摆动随网络虚拟米卸下一切偶然点击出人意料地成为在我心中的故事和情感上的一种捕捉点击然而，从网络到亲爱的朋友会见总是这样的不小心竟然在无意识中心希望与忧虑思上线意欲假设，也是非常决不是真正的关于我的情绪，真的也将抓住将使人出人意料地担心，并相信到一个不会被人理解的人很满足了您我的心飞向上是无法预先知道是什么欢乐的，也许痛苦，但我一直的想法。

In these artworks, illusive emotions with personal and interesting tones appear natural and casual. The selection of materials has become an attitude. Styles and forms have become the carrier of attitudes. Feelings and experiences are expressed without interpretation. It appropriates and uses, without any moral judge, any claim or any answer for any question. Willfully, subjectively and unfaithfully copying the world, art has an unprecedented lack of need to claim its rightfulness, or to force its audience to understand that the work is about. It even intentionally returns to a kind of naivety. The works seem to be excreted rather than constructed. These are all prominent features of postmodernist creations in a social situation that beholds neoliberalism as the mainstream ideology.

幻觉式的情感、富于个人性和趣味性的语调，不动生色地刻意雕琢却以最平淡随意的形式出现，对材料的选择作为一种态度，风格和形式也成为态度的载体，不需要被阐释只需要被感知、体验、欣赏和使用，不做任何道德判断，不发表任何声明，或对某个问题做出一个答案，肆意地、主观地、不忠实地去复制世界，艺术前所未有地不需要去证明自己的正当性，也不要求人们去探问艺术作品在说什么，甚至有意地回归到一种天真的状态，作品似乎是被分泌出来的，而不是被构造出来的，这些都是在以新自由主义为主流意识形态的社会形势中后现代主义作品的最显著的特点。

Thus, the English reading materials, which can help increase students' intrinsic motivation, the positive affective factor, and in the meantime decrease their over anxiety, the debilitative factor, will put students on the track of favorable emotions.

因此，如果阅读材料能唤起学生内部阅读动机这一积极的情感并能有效地降低学生英语阅读中产生的过度焦虑这一消极的情感，阅读材料就可以让学生处于良好的情感状态之下。

But it was not confined to this sphere, and permeated just as strongly his theories of motivation, action, and morality. In a famous sentence in the Treatise, Hume circumscribes reason's role in the production of action: Reason is, and ought only to be the slave of the passions, and can never pretend to any other office than to serve and obey them.

但是还不限于这个领域，这种思想同样明显地渗透在他的动机、行动和道德理论中，在《人性论》的著名表述中，休谟限制了理性在导致行动中的作用：理性是而且应该仅仅是情感的奴隶，除了为情感服务并服从情感之外，不能佯装任何其他东西。

But displaying themes in Christianity and using bible language do not imply that the authors have religious thoughts or they are Christians. It is true that most authors select and approve Christian value rationally, but they can not give up traditional cultural factors in emotion. Thus, in hesitating and maundering they keep a distance from Christianity initiatively. A small portion of authors were intimate with Christianity emotionally and christianized once, but they were not solid enough to defense against outside political pressure and various allurements of historical philosophy. Therefore they estranged from, even gave up their believing.

但作家们表现基督教题材，使用圣经语言，并不表明他们已经拥有自己的宗教思想或者基督信仰，事实刚好相反，大部分作家在理智方面选择、认同基督教的价值理念，情感上却丢弃不了传统的文化因素，于犹疑、徘徊中自觉地与基督信仰保持距离；一小部分作家一度在情感上亲近并皈依基督信仰，却很难抵御外部政治环境的压力和各种历史思想的诱惑，自觉地疏远甚至放弃自己的信仰。

In brief, Cao Xueqin proffers a canon: a writer can intrude into his works and "tell" emotion, in which, however, he should bring us to believe that every emotion word for telling is arranged rationally, and able to express the uniqueness or the universality of emotion.

总之，曹雪芹为我们提供了这样的典范：作家可以闯入作品，情感可以讲述，只是，他必须使我们相信，每一个情感讲述语词的运用都是经过合理安排的，都能充分地表现情感的独特性或普遍性。

We only then usually are strengthening the emotion analysis ability, enhances own cultural art tutelage unceasingly, can accurately grasp the song the sentimental main key, causes audiences sympathetic chord.

我们只有在平时加强情感分析能力，不断提高自身的文化艺术修养，才能准确地把握歌曲的感情基调，引起听众的共鸣。情感；情感体验；途径

In Stoicism, the pre-emotion is not a genuine emotion, because it does not involve an evaluative reaction by the agent; instead, it is the involuntary "jolt" which all humans experience upon the reception of certain powerful impressions.

在斯多葛主义哲学中，前情感并非真实的情感，因为通过这一中介它并没有涉及到一个可评价的反应，相反，它与&震惊&自然而然地关联在一起，所有人在接受到某种强有力的印象时，都会经历这种情感。

In Stoicism, the pre-emotion is not a genuine emotion, because it does not involve an eva1uative reaction by the agent; instead, it is the involuntary "jolt" which all humans experience upon the reception of certain powerful impressions.

在斯多葛主义哲学中，前情感并非真实的情感，因为通过这一中介它并没有涉及到一个可评价的反应，相反，它与&震惊&自然而然地关联在一起，所有人在接受到某种强有力的印象时，都会经历这种情感。

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。