情感地

This paper elaborates on the relationship between many factors as biology、affections、perception、self-respect、education and moral development and thinks that moral is not actionless but constructed by a series of interactional complicated factors.

本文详细地探讨了生物性、情感、认知、自尊、教育诸多因素与道德发展的关系，指出道德并不仅仅是一个具体的静止不动的事物，它是有一系列相互作用的复杂的部分所建构而成的。

Now many scientists and engineers are vainly attempting to apply digital technology of computation to simulate or actuate human emotion and intelligence.

现在许多科学家正徒劳地试图用电脑的数字化技术模拟或真正实现人的情感和智能。

Many of us considered ourselves white trapped in Asian bodies, wrote one Korean adoptee in a 1999 study conducted by the Evan B.

这种情感的强烈程度远远地超过人们的预期，它对被收养儿童的正常生活构成了威胁。

The nature of the attachment system Attachment theory, developed by John Bowlby (1969, 1973, 1980), postulates a universal human need to form close affectional bonds.

依恋系统的本质 John Bowlby (1969， 1973， 1980)创立的依恋理论假定：人类普遍性地有对亲密情感联系的需求。

The research of our subject enriches the content of three-dimensional teaching and makes the aim of "process and method" and "affectivity and value" more practicable, which is expected to effectively improve the durative, harmonious and personal development of students.

本课题的研究，丰富了三维教学目标的内容，特别是使"过程与方法""情感态度和价值观"目标变得更加具体和可操作，从而有望更加有效地促进学生的持续发展、和谐发展和个性发展。

They and the agelong sad wind imagery form Xi Jin Dynasty standed for the traditional aspects of wind imagery in this peri

并使传统"风"丰富深厚的情感与新型"风"贴切细致的形象完美地结合起来，创造出更多更好的新风意象，是唐人需要面对的新课题。

Harmonious relation of teacher and pupil, be advantageous to emotion exchanges, be advantageous to easy amusedly completion teaching mission, realization teaching target.

融洽的师生关系，有利于情感交流，有利于轻松愉快地完成教学任务，实现教学目标。

Time let emotion of us accept the anneal of life ceaselessly, finally we ...

时间让我们的情感不停地接受生活的磨砺，最后在坚强的后面我们包藏着脆弱，脆弱的后面打造着坚强。

There is usually a 3rd -key added in the opening of the second theme, and sometimes a new theme is composed. Then, the subordinate key is reached before the end of exposition. 5 Silence of one whole bar is frequently utilized, which not only brings profound expressive significance, but also is important to the architectonics of these sonatas. 6 The harmonization in the variation, which is the method of applying different keys to the same melody, is handled in those Andante movements. By this way, the same melody appears in variable colors of harmony, which can not only avoid dull repetition, but also keep the lyrical nature and the completeness of melody. 7 Chromatic method is applied in the periods of development, and chromatic深层线条becomes the provident feature in some periods of development. 8 Atlas motive is put to use in c minor and A major sonatas, and a lot of "sigh" tones and c sharp minor are both preferred in those three sonatas. 9 The emotional factor of "wanderer" is the roots of thoughts for the intense conflict of music.

他通常在副部的开始加入一个三度的调性，有时再加入一个新主题，最后在呈示部结束之前到达属调； 5、较多地运用整小节的休止，使其不仅具有深刻的表情意义，而且在结构乐曲中起到了不可或缺的作用； 6、舒伯特在慢板乐章中运用同一旋律异调配置的和声变奏方式来构成音乐的段落，使同一个旋律在不同的和声色彩里闪现，既避免了单调的重复，又保持了旋律的抒情性和完整性； 7、展开的段落中习惯运用半音化的发展手法，半音阶式的深层线条成为某些展开段落的显著特点； 8、c小调和A大调奏鸣曲中都运用了"阿特拉斯"动机，三首奏鸣曲中运用了大量叹息的音调，并倾向于~#c小调的运用； 9、"流浪者"的情感因素是音乐强烈冲突的深刻思想根源。

We can generalize the meanings of similarity and representation form that are based on historical review of similarity along with status and effect in Hume's philosophy .we think in Hume's philosophy the similarity is relation to ideas in memory and imagination, as well as the character that the idea unforced arouse another idea. Representation forms of the similarity include the correspondence of impression and idea, association of ideas and sympathy of sentiment.

通过对相似性作一历史考察和他在休谟哲学中的地位和作用，概括得出相似性的含义及其表现形式，即相似性在休谟哲学中是指把两个或两个以上观念在记忆或想象中联系起来，并按照前述方式使一个观念自然地引起另一个观念的那种性质，其表现形式主要有印象与观念之间的对应性原则、观念之间的联想原则和情感传递中的同情原则。

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。