情感地

While sometraits peculiar to the shadow can be recognized without too much difficulty as one's own personal qualities, in this case both insight and good will are unavailing because the cause of the emotion appears to lie, beyond all possibility of doubt, in the other person.

当某些阴影所特有的特性被毫不费力地当作某人自己的个人品行来理解时，那领悟和善意都将是无效的，因为这种情况下，情感的动机已经不顾任何怀疑地赖在了其他人身上。

She used to roaming around the world of music,and now she is picking up the painting brush, living the poetic life full of sentiment and loving humanism, wondering through various forms of art . This reminds me of the other balladeer Joni Mitchell who is a Grammy winner as well as a prominent visual artist and successful composer.

曾经在音乐的世界里尽情游走，而今她又执起画笔，在浸润着自我情感与人文关爱的绘画艺术中诗意地生活，怡然自得地穿梭在多种艺术形式中。

In contrast, passionlessness means experiencing boredom properly and fully.

相对地，不动情感意味着适当而全然地体验无聊。

In contrast, passionlessness means experiencing boredom properly and fully.

相对地，不动情感意味著适当而全然地体验无聊。

The first chapter expounds that life care of the traditional culture constitutes the solid foundation and psychological support for Zhu Guangqian's study of traditional aesthetic thought, and elaborates the unique discovery that there is a deep connection between Zhu Guangqian and the literary theory of the Tong Cheng School. The second chapter sets forth the experience of Zhu Guangqian's traditional aesthetics which takes interest as the theoretical pivot, empathy as the theoretical core, and artistic life as the destination. and deeply explores and analyzes the inside information of the traditional culture and the dilemma of the fusion of the Chinese and western cultures contained in Zhu Guangqian's empathy thought. The third chapter discusses Zhu Guangqian's identification to affective intention experience of the traditional aesthetics and experience approach of the aesthetic feeling. The fourth chapter states Zhu Guangqian's prospects of life significance and ponderation of imaginal thinking in his later years.

第一章论述传统文化的生命关怀构成朱光潜传统美学思想研究坚实的精神基础和心理支持，独特地发现了朱光潜与桐城文论的深刻联系；第二章论述朱光潜以情趣为理论支点、移情为理论核心、人生艺术化为理论归宿对传统美学审美精神的体认，深入地探析了朱光潜移情思想的传统文化底蕴和中西融合的困境；第三章论述朱光潜对传统美学情感意向性体验和审美感兴体验方式的认同；第四章论述朱光潜晚年对传统美学人生意蕴的展望和形象思维方式的沉思。

In a love world of men and women, Wang Anyi tolerantly connives at women's lust and warmly understands men's cowardice; this way, her literature both casts off traditional literature creation models and penetrates the surface of love and social problems, directly pointing to the deepest level of human nature.

在男性与女性的情爱世界里，王安忆宽容地放纵女性的欲望，温情地宽怒男性的怯懦，既摆脱了传统叙事模式的窠臼，也洞穿情爱问题和社会问题的表象，直指人性最隐秘的情感，体现了对人类终极价值的关怀。

In a love world of men and women, Wang Anyi tolerantly connives at women's lust and warmly understands men's cowardice; this way, her literature both casts off traditional literature creation models and penetrates the surface of love and social problems, directly pointing to the deepest level of human nature.

在男性与女性的情爱世界里，王安忆宽容地放纵女性的欲望，温情地宽恕男性的怯懦，既摆脱了传统叙事模式的窠臼，也洞穿情爱问题和社会问题的表象，直指人性最隐秘的情感，体现了对人类终极价值的关怀。

Getting off the bus, a breeze with moist air came gladdening my heart and refreshing my mind, just like going through the droughty forest in my body making the withered leaves come back to life and the tip of the leaf apex touch the wall of my lungs lightly to set the dormant soul free from under the leaves opening the sleepy eyes and commanding over the passions.

下车，一股微风，携带着湿润的空气，缓缓地沁入我的肺腑，就像穿行在我身体中那片久旱的森林，萎靡的叶子，在一片片地复苏舒展，翘起的叶尖轻触我的肺壁，蛰伏在落叶下的灵魂，睁开惺忪的睡眼，开始驾驭我的情感。

Does it merely state obscurely what Stephen stated with great clarity seventy years earlier 、' It gratifies a natural public feeling to choose out for punishment the one who actually has caused great harl21.'?

难道它仅仅是晦涩地表述了斯蒂芬在七十年前便非常清晰地阐述了的道理_一&把已实际上引起巨大危害的人挑选出来作为惩罚的对象，满足了公众的一种自然的情感&？

Does it merely state obscurely what Stephen stated with great clarity seventy years earlier ' It gratifies a natural public feeling to choose out for punishment the one who actually has caused great harml21.'?

难道它仅仅是晦涩地表述了斯蒂芬在七十年前便非常清晰地阐述了的道理——&把已实际上引起巨大危害[MS31] 的人挑选出来作为惩罚的对象，满足了[MS32] 公众的一种自然的情感&？

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。