情感地

A feeling so intense it resurfaces even though we tried so hard keep it buried.

它是那尽管我们如此努力地埋藏，却仍浮出水面的炙热情感。

A feeling so intenseit resurfaces even though we tried so hard keep it buried.

它是那尽管我们如此努力地埋藏，却仍浮出水面的炙热情感。

In order to know Ding Ling more thoroughly, the paper takes each turn of Ding Ling as a breakthrough, analyzes her ambivalent mentality and character to apprehend her miserable soul and sufferings in the sensibilities, and revalues some of her important works especially those written when she stayed at Yan'an.

本文以丁玲的每一次转折为突破口，从丁玲的矛盾心态和性格变化入手，体味丁玲心灵的痛苦和情感的煎熬，重新评价丁玲的一些重要作品，尤其是延安时期的作品，以期达到尽可能真实和深入地认识丁玲的目的。

You may be led to form extremely strong alliances, but it may as easily cause severe rifts in relationships.

这可能导致你建立极端强烈的联姻关系，但这可能很容易地造成严重的情感关系触礁。

The enhancement of self-efficacy can be achieved either by the teacher's direct encouragement and devotion to students, or by pro- viding students with more opportunities with which they can experience their success in the course of teaching.

教师可以通过直接情感融入和灌输的方式强化学生的自我效能感，更重要的是通过课程教学环节增加学生的成就体验，间接地达到强化学生英语学习自我效能感的目标。

When human dignity is whored away and there is no self-respect to be found; when we awake one day to find that we are completely at the mercy of those who are devoid of human emotions and feelings because they have been de-sensitized to any hint of morality - then, maybe we will wish we had NOT kept our ears and eyes and mouths shut.

当人的尊严是whored以外，也没有自我尊重被发现，当有一天，我们清醒地发现，我们完全任凭谁是这些人缺乏情感和情绪，因为他们已经去认识到任何暗示的道德-那么，也许我们会想，我们没有使我们的耳朵和眼睛，闭嘴。

Art leads to a more profound concept of life, because art itself is a profound expression of feeling.

艺术引导人更深入地认知生活，因为艺术本身是情感的一种深入表达。

But the supporting and understanding of each other that results from shared experiences and emotions does seem to create a powerful boud,which can overcome differences in background,and break down barriers of age,class or race.

但是，基于双方共同的经历，情感而产生的理解和支持，能克服背景的差异，年龄的界限，打破性别、阶层与种族的屏障，把两人牢牢地栓在一起。

The feeling of existential unrest, the desire to know, the feeling of being moved to question, the questioning and seeking itself, the direction of the questioning toward the ground that moves to be sought, the recognition of the divine ground as the mover, are the experiential complex, the pathos, in which the reality of divine-human participation becomes luminous.

存在的焦虑、认知的渴望、想要发问的情感、不断地追问和探索自身、朝着依赖自身运动而求得被探索的场域发问的方向（译注：言辞的理解过程是存在的自身运动并指向自身的过程，参见logos的辨证运动过程）、对作为推动者的神域的承认，这一切构成了人类经验的复杂和痛苦，并使这个由神和人共同构建的现实世界逐渐清晰起来。

However, various problems have arisen today because it is inevitable that these ceramists, as "ceramic art professionals", have their own preferences and sentiments and sentiments in their records and comments of the art works and ceramic artists whatever they have tried to do the work in a reasonable way of judgment.

因为陶艺家在记载和评介陶艺活动和陶艺家等方面，无论其心里是多么想公正地去做好这项工作，都难免会带上本人作为&行内人&的种种好恶和情感因素，在风格和观念的认同上，其客观性也会受到影响。

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。