情感的

These young girls, from Fine Arts Department of Tainan University of Technology, who are in their twenties pose like newborn calf which fears nothing to heartily show the talent of wild creations which is characteristic only in the youthhood, in the exhibition. In the works, they nakedly and sincerely express everything they have experienced in their own relationships, studies, families, and lives. The works are warm, sweet, wild, and also bold. Perhaps the command of the techniques and materials is unprofessional, but it is the complete presentment of the most sincere emotions from girls who possess the passions of art creations.

这些来自台南科技大学美术系，约莫二十年华的年轻女孩，以初生之犊的无畏姿态，尽情恣意在创作中展现青春年岁特有的狂放不羇与创作才华，赤裸真诚地将自己经历感情、学业、家庭、人生的种种淬炼挥洒於作品中，它是温软甜美的，也是狂烈大胆的，或许技法媒材的运用手法不够熟稔专业，但它却是一羣对艺术创作充满热情的女孩最真实情感的完整呈现。

Sometimes, letting go brings rapture. Whether it is the ink brush, the water-color, or the interpretation of western expressionism, Ann Yen's paintings are always poetic, sentimental and mind opening. Her leniency touches our heart and sets us free...

我们细味颜正安的作品，无论是水墨的表现或是富西方表现的画面，始终是诗情画意的境界，浓郁情感的底蕴是宽容之心，是对自由的追求，让人心生感动的温暖和厚重的力量。

These three are among his greatest:"La Ronde"(1950), a delicately sweet and sour roundelay of chance meetings, secret trysts, hopeless courtships and cuckolded lovers;"Le Plaisir"(1952), a trilogy of romantic tales told with a mix of sweet generosity and a wistful sense of regret; and "The Earrings of Madame de ...", a melancholy waltz of romantic tragedy where the irrationality of emotion shatters the social illusion of perfection and breaks the rules of the game.

这三部是他最伟大的作品：&La Ronde&（1950），一段偶尔相遇，优美酸甜的圆舞曲，进而私下幽会，却是无望的恋爱期，结果给情人戴了绿帽子； Le Plaisir&(1952)，浪漫情怀三部曲，甜蜜的慷慨、后悔的惆怅，让我们心里不知道是滋味；伯爵夫人的耳环&讲述了一段悲伤的华尔兹，罗曼蒂克式的悲剧，这里情感的不合理性粉碎了社会至善至美的假象，打破了游戏的规则。

The third sub-band is occupied by exteriorized entities who have permanently left their physical existence but do not realize it, and are trying to continue a habitual physical existe的 nce, often remaining around familiar occupied bodies (still embodied friends and acquaintances) while acting out emotionally-based drives and fears.

第三个副环带由永远离开了他们的世间存在的形象化的实体所占据，但他们并未认识到这一点，在试图继续一种习惯性的世间存在，常常停留在熟悉的人的四周（依然处于肉身中的朋友和熟人），并基于情感和恐惧而行动。

Nor for the idea, claimed last week by a research team from the University of Edinburgh, that happiness lies in our genetic structure, thus fating us from birth to be happy or grumpy; we either have an "affective reserve" of contentment that we can call on in times of stress, they say - or we do not.

但是并非维纳先生的观点影响，上个星期爱丁堡大学的研究小组发表了这样的看法，他们认为快乐植根于我们的基因结构中，因此一出生我们就注定或者是快乐的，或者是坏脾气的；研究小组还认为，我们也可能具有对有压力时刻所唤起的内心情感的克制能力。

So that this article will focus on the discussion about the goal of moral idealizing personality, the model of projective cognition and self- o bjective interpersonal relationship, an very strong sense of shame and obeying authority in Confucianism.

儒家思想中过份强调理性，贬低情感的&君子&&圣人&的理想人格的社会期待；&人人关系&将&己&作为人际关系中的一点，缺乏对个人承诺所致的&自我客体&式家庭人际关系；&己所不欲，勿施予人&&已欲立而立人&&己欲达而达人&的以&己&为出发点的认知方式；以及儒家&修齐治平&的奋斗目标、过份的耻感和权威崇拜均蕴含有明显的自恋趋向。

So that this article will focus on the discussion about the goal of moral idealizing personality, the model of projective cognition and self-objective interpersonal relationship, an very strong sense of shame and obeying authority in Confucianism.

儒家思想中过份强调理性，贬低情感的&君子&&圣人&的理想人格的社会期待；&人人关系&将&己&作为人际关系中的一点，缺乏对个人承诺所致的&自我客体&式家庭人际关系；&己所不欲，勿施予人&&已欲立而立人&&己欲达而达人&的以&己&为出发点的认知方式；以及儒家&修齐治平&的奋斗目标，过份的耻感和权威崇拜均蕴含有明显的自恋趋向。

This article utilized the result from my observation of a group of patients with personality disorder, revealing that this situation in Confucianism is related with the core of itself. So that this article will focus on the discussion about the goal of moral idealizing personality, the model of projective cognition and self-objective interpersonal relationship, an very strong sense of shame and obeying authority in Confucianism.

儒家思想中过分L调理性，贬低情感的&君子&&圣人&的理想人格的社N期待；&人人关系&将&己&作为人关系中的一礡A缺乏对臚H承诺所致的&自我客体&式家庭人关系；&己所不欲，勿施予人&&己欲立而立人&&己欲}而}人&的以&己&为出Y簹认知方式；以及儒家&修治平&的奋斗目标、过分的埸P和权威崇拜均蕴含有明显的自恋趋向。

To be an affective and efficient democratic national assembly of all persons with disabilities which mobilizes us to advocate for our rights for the attainment of equal opportunity o\in an integrated social, political and economic environment.

当有动员我们为我们的权利为相等的机会 o 的达到主张的无力所有的人情感的和有效率的民主国民大会\在整合的社会，政治上的和经济的环境中。

To be an affective and efficient democratic national assembly of all persons with disabilities which mobilizes us to advocate for our rights for the attainment of equal opportunity oin an integrated social, political and economic environment.

当有动员我们为我们的权利为相等的机会 o 的达到主张的无力所有的人情感的和有效率的民主国民大会在整合的社会，政治上的和经济的环境中。

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。