情感的

That is to say, the research should aim at the study of English LDs affective characteristics.

第二部分概述了情感的概念、类型，情感与认知的关系，情感在英语学习中的作用。

Daniel Goleman explains in his book "Emotional Intelligence" that rapport "stems from emotional attunement, from the capacity for empathy."

Daniel Goleman在他的《情感智能》一书中解释，和谐"来自于情感的协调，来自于沟通情感的能力"。

Certe, quidem do not have the brevity and the harmony of the Spanish, Italian, and Portuguese si and the French si , when the latter substitutes for oui in the most expressive sentences; si in singing, a musical note, an arpeggio of the flute, a bird's trill, noble and good for melody, for rhythm, for dreaming, for love: more for the protest and impetus, for the paroxysm, for wrath, for anathema, for dry fulminating hate, like the scratching of a ray of light, the no is far better, the rude, bitter O vast, like a roar, round and ardent like a chaos producer of life through the conflagration of all the forces of the abyss.

拉丁语中的肯定回答"Certe quidem"不如西班牙语、义大利语、葡萄牙语和法语中的肯定回答"si"那麼简洁和谐。法语中的"si"在最富有情感的情况下取代了"oui"，表示"是的"。"si"在音乐中是音符"7"，是长笛的琶音，乌的颤音，极适用於美妙的音乐、韵律、梦幻和爱情的表达。而要表达抗议、冲动、情感的突然发作、愤怒、诅咒、憎恨这一类像划火柴点火那样瞬间爆发的情感，否定回答"No"要比肯定回答适用得多。"No"中的"o"粗鲁、嘹亮、热烈，像怒吼，像给世界造成大乱的深藏在地底下的雷霆万钧之力突然爆发。

The combination of morality and feeling makes of moral feeling, which is the hinge on the moral development.

道德与情感的结合，生成了道德情感。

One who can control own affections is own master,one who was controled by affections is the slaver of them.

能控制自己情感的人才是自己的主人，受情感支配的人是情感的奴隶。

The more an affect arises from a number of causes concurring together, the greater it is.

同时凑合起来以激起一个情感的原因愈多，则这个情感将必愈大。

Rothbard and Wilk wanted to advance other researchers' findings on forms of "emotional contagion"-- occasions when one person's mood influences another's "through a process of observation, mimicry, and synchronization."

Rothbard和Wilk想知道其他研究员在情感蔓延方式方面的发现－－通过一系列的观察、模拟和同步，一个人的情感影响其他人的情感的场合。

But it was not confined to this sphere, and permeated just as strongly his theories of motivation, action, and morality. In a famous sentence in the Treatise, Hume circumscribes reason's role in the production of action: Reason is, and ought only to be the slave of the passions, and can never pretend to any other office than to serve and obey them.

但是还不限于这个领域，这种思想同样明显地渗透在他的动机、行动和道德理论中，在《人性论》的著名表述中，休谟限制了理性在导致行动中的作用：理性是而且应该仅仅是情感的奴隶，除了为情感服务并服从情感之外，不能佯装任何其他东西。

In brief, Cao Xueqin proffers a canon: a writer can intrude into his works and "tell" emotion, in which, however, he should bring us to believe that every emotion word for telling is arranged rationally, and able to express the uniqueness or the universality of emotion.

总之，曹雪芹为我们提供了这样的典范：作家可以闯入作品，情感可以讲述，只是，他必须使我们相信，每一个情感讲述语词的运用都是经过合理安排的，都能充分地表现情感的独特性或普遍性。

Authentic emotion and artistic conception are safeguard of improving Erhu aret charm.

为了实现二胡演奏艺术中技术与情感的统一，首先要熟练掌握二胡的演奏技术，这是准确表现乐曲情感内涵的基础；其次要博采姐妹演奏艺术众长，以服务不同地域乐曲的风格；再次要深刻领悟乐曲内在情感，以实现提升二胡演奏的艺术魅力。

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。