情感地

In contrast, in the near-future adoption scenario, communication strategies that promote process simulations are better at reducing switching cost and affective uncertainties, assuaging anxiety, and increasing behavioral intentions.

相反，在近期采用新产品的情况下，用以提高过程模拟的沟通策略可以更有效地降低转换成本和情感不确定性，缓和焦虑感，增强行为意愿。

Little by little, by austerities, by tortures, by starvation, in many lives, he was able to control his body, and while he was controlling his body, he was training at the same time his emotions and his mind; because when they are not cooperating, when they are not coordinated, when they are not synthetic, then there is discord, then there is no well-being.

渐渐地，通过苦行，通过自我拷问，通过绝食，在许多生中，他能够控制他的身体了，并且当他控制他的身体的时候，他同时训练了他的情感和他的头脑；因为它们不合作的时候，当它们不协调的时候，当它们不能融合的时候，就产生了不调和，就没有了安乐。

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&。

Then it's this sort of difference of emotion that leads to diversity among the fields of teaching and learning In this article, the author mainly discussed the functions of emotionalized teaching in class to inspire the learners' enthusiasm and interest of participating in classroom activities more effectively, promote the development of learner's cognitive activity, thus making a good teaching result.

本文着重论述课堂情感教学的作用，目的是更有效地激发学习者参与课堂活动的积极性和兴趣，促进学习者认知活动的健康发展，从而取得良好的教学效果。

It followsthat there is an absolute artistic criterion which means thatthe unique feelings of every individual is empathized by everyother individual through images that can't be duplicated.

据此可以逻辑地推定艺术的绝对标准：每个个体的任何独特情感，都通过不可重复的对象形象，而为每个其他个体所同感。

For my own part, I confess I am not only very much disposed to lay down the absolute necessity of imitation in the first stages of the art, but am of opinion that the study of other masters, which I here call imitation, may be extended throughout our whole life without any danger of the inconveniences with which it is charged, of enfeebling the mind, or preventing us from giving that original air which every work undoubtedly ought always to have.

对我本人来说，我特别反对的是，在艺术开始的几个阶段，那种完全照搬抄袭式的模仿。而我这里所说的模仿，是向大师们学习的模仿，是在我们一生中都能受用、百利而无一害的模仿。这种模仿，不会影响我们的情感，不会减弱我们的思想，也毫无疑问地不会改变原始事物本身的风格。

The less direct resistance they put up to it comforting themselves by driving it from their mind and deceiving themselves with the thought that it is of no account, or else simply gritting their teeth-the deeper the experience etches itself into their emotional memory.

他们越少直接地对此反抗——将它们从头脑中赶出去借此安慰自己，和采取将它们当作不予考虑的想法来欺骗自己，或干脆咬紧牙关，这种情感就会铭记在他们感情的记忆中越深。

As soon as I had taken my resolution, I became another man, or rather, I became the man I had formerly been, whom the intoxication of the moment had caused to disappear. Full of good sentiments and good resolutions, I continued my journey with the intentions of expiating my error, thinking only of regulating my future conduct by the laws of virture, of devoting myself unreservedly to the service of the best of mothers, of vowing to her a loyalty equal to my attachment, and of listening to no other call but that of my duties.

我一下定决心，便变成另一个了，或者说是我变回到从前的我了，变回到一时的迷醉使之消失的那个我了，我心中充满了美好的情感何善良的决心，在继续前行，一心想着补赎过错，今后定按道德标准调节自己的行为，毫无保留地为母亲中最好的那一位效劳，向她献上如同我对她的爱恋一样深切的忠诚，只听从自己的职责的这种爱的驱使。

Dance-Movement group extrapolates those ingredients from dance, enables the patient to move towards healthier functioning, and reconstructs the lody image. Also, it can help patients to express their feeling, emotions, thought, attitude and awareness of others.

舞蹈动作能使病人达到心理健康的功能，其所运用的身体动作，不只帮助精神病患身体形象的建立，且可以正确地表达出情感、思考、态度及了解别人动作之意义。

But only halfway. True, the first dozen chapters parade the characters through a soapy plot filled with unintentional hilarities, where Sappho flounces and flirts like Scarlett O'Hara (''You little minx,'' her lover says,''you want to devour the world'') and makes love like a Harlequin heroine ''His arms enfolded me.

的确，这本书开始的十几章让各个角色卷入了肥皂剧式的情节中，充满了无意识的欢闹，萨福象郝斯嘉一样飞快地在男子间跳动、调情，玩弄他们的情感（&你这个小风骚，&她的情人说：&你想要吞下整个世界呀&），象禾林经典爱情小说里的女主角一样做爱

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。