情感的

That might explain why Luo is enchanted by specimen. He staged a scene of a museum that displays the pieces of his memories and mental pictures through the laying out and reconstituting the cross-sections of rocks. The procedures only exist in a momentary flash on the canvas. Though there are similarities between Luo's themes and those of Japanese photographer Sugimoto Hiroshi, Luo's objects are at greater ease than Hiroshi's. This is the reflection of Luo's sentiment, an attitude of self-complacent that elder Chinese literati had.

这也就不难解释罗荃木对于标本的偏好，并将场景直接地自博物陈列中撷取，这拼凑自艺术家记忆或相片的过程正如将摊平剖析过后再度构造出的山石，成为了只存在于画布中某个过去的瞬间；但有趣的是，这些标本都存在着一种自在，这份感觉是无法在杉本博司摄影中看到－这是艺术家自己对于外在世界情感的写照，超然幽淡的生活状态，并可呼应宋时以写生观察自然、寄情自然的文人思维。

Act and inter-act on all the human stages we enter and leave, requires not the self-protective, isolating languages of competitive education - the colonial and still dominant pedagogy of a past industrial world - but the self-expressive, empathetic-reflexive languages of cooperative learning and affirmation.

倘若想拥有这种视角和观察力，仅仅有以前充满竞争的工业社会的教育模式--殖民社会的强迫教育、法西斯式的强权教育--的产物--充满自我保护和自我孤立的语言表达是行不通的。今日的社会更需要一种可以充分表达自我情感的人性化语言--使用这样的语言可以避免"封闭者"和"独裁者"的出现。

In the view of Western Wen Lun,add the association righteousness in association axis with the spread-out righteousness in word order axis will extend and develop the original intention of the text,causing wholesome,symbolized and equivocal association.So we can understand more diversely and thoroughly Ci,which is advantageous for expressing the subtle emotion.

西方文论把联想轴上的联想义叠加在语序轴上的衍义将延伸和拓展文本本意，产生整体的、象征的、符合的、多义的联想，这使我们对词这种"便于抒发微妙灵动情感的文学体式"的理解更加丰富、更加深入。

Never undermine the physical body to change; never fuzzy structure to penetrate the structure; the disposal of construction, subordinate, supplementary to the dominant, the impact of cross-architecture; on the expression of emotion, metaphor, symbol of the spirit and substance of the fragments, integration and dislocation from the use of these color changes in the law to find the contemporary art environment in the use of color and form of expression results: break the construction solid-state image, fuzzy indoor and outdoor space environment; for static and dynamic space of deconstruction, reorganization, penetration and extend the ; mix, overlay the traditional color and new color, color external color and heart; the use of the aesthetic characteristics of the new color to create realistic, non-realistic, ultra-realistic environment.

从不破坏形体到变化形体；从不模糊结构到穿透结构；对建筑的支配、从属、补充到主导、冲击、跨越建筑；对情感的表达、隐喻、象征到精神及物质的片段、整合和错位，从这些色彩运用规律的转变来找到当代环境艺术中色彩的运用的表达方式与形成的结果：打破建筑固态形象，模糊室内外空间环境；进行静态与动态空间的解构、重组、渗透与延展；混搭、叠加传统色与新色彩、外部色彩与内心色彩；利用新色彩的美学特性创造现实、非现实、超现实的环境。

This English translation of Gao's early play and his theoretical essay on modern Chinese drama will not only make the realist play accessible for English-speaking readers worldwide but also reveal the early formation of the playwright's unique theatric creativity and theory.

高行健是2000年诺贝尔文学奖得主，也是一位优秀的前卫实验剧作家。本书译自它的写实主义剧作《绝对信号》。该剧是中国剧作史上头一部只依靠舞台灯光与音效来呈现角色情感的剧作。本书也翻译了他早期关於剧本创作理念的文章，译者并以专文分析高行健的戏剧创作内涵。本书出版的目的是希望将高行健的戏剧创作，推荐给英语世界的广大读者。

The thesis analyzes specifically the importance of free psychology state in painting from the aspects of imagination, immanent resonance and its forms, and free unbosom of affections, by giving in-depth analysis on the factors of children's free painting and combining the practice of artists. The thesis points out that art works should be produced in an involuntary state with self-consciousness.

文章通过对儿童绘画的自由因素分析，并结合艺术家的实践经验，从想象、内在的共鸣与形式、内在因素情感的自由宣泄中，具体分析了这种没有羁绊的自由境界的重要性，指出艺术家作品的显现过程应该处在一种自觉中的非自觉状态中。

Current, agrestic history it is accepted that educational education value teachs a bound in domestic history, the achievement of the culture with glorious past, gorgeous native place, celebrity is we bring those who feel proud, behoove is become arouse education student to have deep love for home town, have deep love for motherland thought affective vivid teaching material.

目前，乡土史的教育教学价值在国内的历史教育界是公认的，家乡辉煌的过去、灿烂的文化、名人的事迹是我们引以为自豪的，理应成为激发培养学生热爱家乡、热爱祖国思想情感的生动教材。

On a purely surface level, his sound seems to be all about his voice, which often reaches a fragile, breathy register, as if his body is so exhausted with emotion that the lyrics must leak out.

在纯粹表象的层面上，他的声音似乎完全是自己的嗓音——那种时常到达脆弱的、带有气声的音域的嗓音。似乎他的身体由于情感的展现变得精疲力竭，以至于歌词必须被泄露出来。

It was suggested:(1) A strikingly strong sensitivity to eye gaze is observed from birth, and eye gaze perception is key to the development of language capabilities and social cognition;(2) The neural basis of gaze perception is the superior temporal sulcus, which is heavily connected with the amygdala implicated in processing emotion, and the STS is an important part of a wider network for social cognition neural systems;(3) Processing on early stage of eyes gaze cueing reveals specific event-related potential component;(4)The eyes gaze cueing effect has been labeled reflexive and likened to orienting in response to peripheral cues, however, it lasts longer;(5) The gaze cueing effect is influenced by many different facets, from lower level configural aspects such as face orientation to higher level cognitive factors. Furthermore, the gaze cueing effect reveals significant sex difference in normal adult population.

结果发现：婴儿从一出生就对眼睛注视线索表现出强烈的敏感性，眼睛注视知觉对语言和社会等能力的发展有很大影响；(2)颞上沟是加工眼睛注视线索的特异神经结构，它与实时监控情绪和情感的杏仁核存在神经联结，成为社会认知神经系统的重要组成部分；(3)对眼睛注视线索的早期加工显示出特异的脑电活动模式；(4)眼睛注视线索效应与外周线索的反射式效应相类似，但持续时间较长；(5)眼睛注视线索效应不仅受面部结构信息的影响，也受自上而下加工等高水平认知因素的调节，并显示出明显的个体差异。

As a aesthetic relation harmony parts to two levels, the lower level indicates the establishing of apperceiving relation between subject ant object, and the initial rising of feeling; the higher level indicates the transfixion and transformation one another, this may also part into two different layers: the same construction between God and human, and the harmony between God and human.

作为审美关系的和分为两个层次，较低层次的审美之和指主客体之间的感知关系的建立及由此获得的情感的初步兴发；较高层次的审美之和则指主客体之间的相互贯通和相互转化，它又可以分为两个不同的层次：天人同构与天人相和。

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。