情感地

The preordained frangibility of the hymen: the presupposed intangibility of the thing in itself: the incongruity and disproportion between the selfprolonging tension of the thing proposed to be done and the selfabbreviating relaxation of the thing done; the fallaciously inferred debility of the female: the muscularity of the male: the variations of ethical codes: the natural grammatical transition by inversion involving no alteration of sense of an aorist preterite proposition (parsed as masculine subject, monosyllabic onomatopoeic transitive verb with direct feminine object) from the active voice into its correlative aorist preterite proposition (parsed as feminine subject, auxiliary verb and quasimonosyllabic onomatopoeic past participle with complementary masculine agent) in the passive voice: the continued product of seminators by generation: the continual production of semen by distillation: the futility of triumph or protest or vindication: the inanity of extolled virtue: the lethargy of nescient matter: the apathy of the stars.

671处女膜先天的脆弱性，物体本身预先假定的不可触性。为了达到目的而自我延长的那份紧张以及完成之后的自我缩短与松弛，这二者之间既不调和也不均衡。女性之虚弱及男性之强韧乃基于谬误的臆测。道德的准则是可变的。自然的语法转换：在不引起意思变动的情况下，由主动语态不定过去式命题（从语法上分析：男性主语，单音节拟声及物动词，女性直接宾语）转位到相关的被动语态不定过去式命题：3）（从语法上分析：女性主语，助动词与准单音节拟声过去分词，男性主动补语）。借着生殖，不断地生产播种者们。借着酿造来连续地生产精液。胜利也罢，抗议也罢，复仇也罢，都是徒劳的。对贞操的颂扬煞是无聊。无知觉的物质毫无生气。星辰之情感淡漠。

Sometimes the neighbour's pigeons land on my windowledge Cooing softly Where the great poplar at the window has somehow grown beyond the fourth-floor roof They skim round its crown and back The sunlight on their fluffy feathers Alive day by day I keep coming indoors empty-handed And throwing book and jacket on the bed As the days hurry by I can bring scarcely anything home Even after days away Only you remain and the little room Living day by day We have grown used By an unspoken pact to the room's breadth A pair of pigeons cooing softly on the windowledge Which at many instants belong to us Day by day Dust that falls on book spines gradually yellows Perhaps it is otherwise That life, if it does, provides I know that the unwitting request is not excessive And that summer turns to autumn Perhaps fallen leaves will swirl after a night of rain It does not mean a return to green shade deep in sunlight A house-cleaning when leisure affords Feelings may come on latent even as Irrelevancies are spoken softly The instant when a first trembling on the lips teaches you happiness Lasts till the end of life A request always voiced unwittingly

有时候，邻家的鸽子落在我的窗台上咕咕地轻啼窗口的大杨树不知不觉间已高过了四层楼的屋顶它们轻绕那些树冠又飞回来阳光在蓬松的羽毛上那么温柔生命日复一日我往往空着手从街上回来把书和上衣掷在床上日子过得匆匆忙忙我时常不能带回来什么即使离家数日只留下你和这小小的屋子生活日复一日面对无声无息的默契我们已习惯了彼此间的宽容一对鸽子在窗台上咕咕地轻啼他们在许多瞬间属于我们日复一日灰尘落在书脊上渐渐变黄如果生活时时在给予那也许是另一回事我知道，那无意间提出的请求并不过份我知道，夏日正转向秋天也许一场夜雨过后就会落叶纷飞不是说再回到阳光下幽深的绿荫日子需要闲遐的时候把家收拾干净，即使轻声述说些无关紧要的事情感也会在其间潜潜走过当唇际间最初的战栗使你感知了幸福这一瞬已延伸到了生命的尽头而那些请求都是无意间说出的

A description in the book cover flap reads,"In this tender, sensitive and blackly comic novel, Sebastian Shaw, the distinguished Shakespearean actor, explores areas of sexual and emotional encounter that are rarely seen and, unfortunately, too rarely understood."

书的封面上的一段介绍激动地说：这是一部温柔、敏感、抑郁的喜剧小说。塞巴斯蒂安·肖，杰出的莎剧演员探索了性与情感中极不常见，又不幸地很难被理解的领域。

How are you, how are you? he shouted, still in the same voice as in the regiment. But Rostov noticed with grief, behind this habitual briskness and swagger, some new, sinister, smothered feeling that peeped out in the words and intonations and the expression of the face of Denisov.

你好，你好！他喊道，那嗓音仍像平常他在兵团中说话时用的嗓音一样，但罗斯托夫忧愁地觉察到，他还怀有地所惯有的放肆而活跃的心态，但是他的面部表情、语调和谈吐却流露出前所未有的、隐藏在内心深处的难堪的情感。

He shouted, still in the same voice as in the regiment. But Rostov noticed with grief, behind this habitual briskness and swagger, some new, sinister, smothered feeling that peeped out in the words and intonations and the expression of the face of Denisov.

你好，你好！他喊道，那嗓音仍像平常他在兵团中说话时用的嗓音一样，但罗斯托夫忧愁地觉察到，他还怀有地所惯有的放肆而活跃的心态，但是他的面部表情、语调和谈吐却流露出前所未有的、隐藏在内心深处的难堪的情感。

Modern Art in the mainstream slowly and step by step forward, we also found that the decoration abandoned , and the modern art go forward contractedly and continuously conceptualization, in addition to all external and unnecessary form until the rigidity of the basic elements of art—the emotion.

在现代艺术的主流缓慢地一步一步向前推进的时候，我们发现现代艺术对装饰的抛弃也使自身不断地简约化和概念化，去除了一切不必要的外壳与形式，也僵化了艺术的基本要素――情感。

We are deliberately plucking your heartstrings, now we are deliberately putting you in a situation where...

我们是刻意地牵动你的情感，刻意地将你放在一个情形，就是。。。。

Bright case is in " art and affection " in one book, not hesitate the treatise that writing ground has large space to " of " time image, its purpose is the characteristic that elaborates essence of sex of musical art idolum to the utmost extent not only, also be heavy entering a place to cut with musical art, expound theory of whole and artistic idolum more brightly, lucidly, clearly.

苏珊。朗格在《艺术和情感》一书中，不惜笔墨地对"时间意象"进行大篇幅的论述，其目的不仅是竭尽全力地阐述音乐艺术幻象性本质的特征，也是重在以音乐艺术为切入点，更鲜明、透彻、明晰地阐述整个艺术幻象理论。

They interweave together each other, tend to changing constantly, power and shape , they fine long hair sometimes flow , sometimes congeal and stop , erupt sometimes irregular, disappear sometimes," some such things change like lights of forest like that in feeling of us, it hand in again and the overlapping:" Gather into certain form again when they have not offsetted and concealed each other, but this kind of form in often resolving, or break out in the fierce conflict for the passion, or become changed beyond recognition in this kind of conflict , all these things blend subjective reality make up man we call that inalienably for an organic whole " The inherent life " Thing promptly emotions human so-called.

它们相互交织在一起，不断地改变着趋向，强弱和形态，它们毫无规律地时而流动，时而凝止，时而爆发，时而消失，&这样一些东西在我们的感受中就象森林中的灯火那样地变化不定，相互交又和重迭&当它们没有相互抵消和掩盖时便又聚成一定的形状，但这种形状又在时时的分解着，或是在激烈的冲突中爆发为激情，或是在这种冲突中变得面目全非，所有这些交融为一体不可分割地主观现实就组成丁我们称之为&内在生命&的东西即所谓人类情感。

As a postgraduate majoring in vocal music, I developed a deep passion for the piece of music through the study of the original materials and practical singing on the concert. I feels that is of great value to make further study about it. Therefore, I gathered a lot of materials, study of the German pronunciation, analysis of the videotapes and other comprehensive devices to explore deeply the implication of the divertimento and its ideological thoughts.

因此，本人通过有关文献的收集、德语语音的学习、音像资料分析以及综合分析等研究方法与途径，结合自己的演唱实践与体会，分析了整部套曲的音乐特点，挖掘了套曲所蕴涵的独特意境、情感深思和思想内涵，立足于研究声乐套曲《妇女的爱情与生活》的演唱所包含的诸多方面：套曲演唱的语音、套曲演唱的音准与节奏、套曲演唱的音色与力度、套曲演唱的情感表现与演唱处理等作进一步深刻地研究，从而对这部声乐作品有更加形象、生动的认识及更深入的了解。

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。