情感的

The 'arrival' of Sisyphus means that he has to employ 'pathetic fallacy' to personify the stone as signifying man's desire and mental burden – the stone lying at the roadside has been changed and elevated to a symbolic level, which incorporates the myth with heroic spirit and becomes the objective equivalent to that of desire, anxiety, and pressure. In essence, the physical features are drowned and from between to express the natural physical features or the ideas, he chooses the latter. This means that there is disjoint between what originally moved him and what he would like to express, but he is acutely aware of it – the 'danger of illustration'. We can see that these series of paintings are finally presented to us, the physical features of the objects still remains and are expressed to some extent. Among them some directly depict the stones in their own part about their pleats and points, desolateness and heaviness; at the meantime, nobody appears in the pictures.

西西弗斯的"到来"，意味着他不得不采用感情误置的方式，将石头进行拟人化的处理，用以指称人的欲望和精神负担——那块路边的石头已经不复它本来的面目，它被提升到一个象征的位置上，与神话和英雄的精神题旨迅速结合在一起，成为人性之中欲望、焦虑、压力等情感的客观对应物，从本质上来说，物自身的特性被淹没了，在表现物的自然特性和表现理念这两者之间，他选择了后者，这意味着，在感动他的最初事实与他要表现的事实之间就有了一种脱节，但他敏感地意识到了这种脱节，这种"图解的危险"，我们可以看到，当这组画最终呈现在我们面前的时候，物的自然特性得到了很大程度的挽留和表现，其中有一些画作直接描绘了岩石本身，它本身的褶皱和棱角、苍凉和沉重，同时，并没有人出现在这样的画面上。

It can disperse the haze of the depths of our hearts and ignorance, spread the knowledge of light and lofty, will lead us to the pinnacle of glory; that a classic literary masterpiece, the Ministry opened a fan of your mind the window, which allows you to understand that society, to understand the history, in the eloquent words, bring you a fresh figure to a soul's dialogue with thoughts and feelings at the same time upgrading; which readily Collected Works of miscellaneous books dapper frank, passionate, excited turbid Yang Qing, something happens and even caustic merciless, but embracing the philosophy, giving people with wisdom and truth, people Maosaidunkai; which Pianpian beautiful and passionate prose, astute, smooth and gratification, profound thinking and the brilliant vitality, it is taught us to capture life, so that we really understand the "Ren Zhiqing,""live meaning,""is reasonable in"; that contain thousands of song after another taste of the poem, let us read a romantic nature and Yun Li, read out of life with poetic grace, love and intellect, free and easy and indifferent to, the most unusual is that we read out the poem Painting in the Painting realize the true meaning of life and life's wonderful!

它能驱散我们心灵深处的阴霾和愚昧，播撒知识的光明与崇高，将我们引向辉煌的巅峰；那一部部经典文学巨著打开了你一扇扇心灵之窗，它让你了解了那个社会，了解那段历史，在洋洋洒洒的文字中让你和一个个鲜活的人物进行心灵的对话，同时进行着思想与情感的提升；那一本本短小精悍的杂文集爽快直率，热情奔放，激浊扬清，有事甚至是尖刻无情，但却包罗哲理、给人以睿智与真情，让人茅塞顿开；那一篇篇优美而充满激情的散文，感觉敏锐，流畅而痛快，思想深邃而灼灼活力，它教会了我们捕捉生活，使我们真正理解了"人之情"、"活之意"、"理之在"；那一首首蕴含万千情趣的诗，让我们读到了自然的浪漫与蕴理，读出了人生的诗性与风度，情爱与理智，洒脱与淡泊，最难得的是我们在诗中读出了画意，在画意中悟出了生活的真谛和人生的美好！

If you would attain that Truth, if you would become perfect in the knowledge of that Truth, you must go through this process of renunciation, setting aside those things which have no value, putting aside your little knowledge in order to acquire greater knowledge, putting aside your little wisdom in order to acquire greater wisdom; and so when you reach the abode where there is no cloud of doubt, of misjudgement, where there is no question of perverting judgment, or of false thoughts, of false emotions, of fleeting affections, then you are truly in possession of the Truth, then truly are you like myself -the Beloved.

其他人也许鼓励，其他人也许阻挠，但是在只有在你内才有去行走的力量，只有在你内才有决心，只有在你内才有智慧，如果你想获得那真理，如果你想在真理的知识方面变的完美，你必须走过这个弃绝的过程，把那些没有价值的事情放在一旁，把你的小知识放在一旁为了获得更伟大的知识，把你的小智慧放在一旁为了获得那更大的智慧；并且因此当你到达那住所，在那里没有怀疑的，错误判断的乌云，在那里没有滥用判断的，或者错误的想法的，错误的情感的，暂时的喜爱的问题的时候，那么你就真正地拥有了真理，那么你真正地像你自己——挚爱者。

The people and objects floating through Gao Bo's works are without roots - perhaps they come from a momentary memory or a spark of interest. Looking at Gao Bo's works brings pictorial information stored deep in the mind to light, yet within a second these mind-images fade again, leaving behind a memory of all the images that lie underneath Gao Bo's warm and languid sketching. In Gao Bo's consciousness, these images don't stop at realism or simply exposit like some historical legend - in the end they reach towards the fringes of nothingness.These images can call up rich associations in our minds yet often these are false associations. For example, in "Gray Face" this is not the mystical dog of the god Erlang in Journey to the West; the rickety bridge in "River Bed" is certainly not a reference to a rainbow in Heaven; the story of "Contest" is not about two dogs running and pretending to be in love but a story of race dogs controlled by humans.

散漫在高波作品中的人与物没有根源，也许它们是源于个人瞬间的兴趣和记忆，有关知识的、情感的和在脑子里存储的图象信息随之而来，也可以随之而去，只是在温和缓慢的描绘背后还有一丝对所有形象匆匆停留过后的怀念，它们在高波的意识之中并不是一次停留于现实或者历史神话般司空见惯的陈述，它们的结果最终都是通向虚无的边缘，尽管那些形象似乎可以唤起我们丰富的联想，比如《灰色的脸》，它绝不是西游记中二郎神的天犬，在《河床》中不牢靠的拱桥，肯定不是寓指天堂里的彩虹，《竞赛》讲述的故事并不是两只在假装为爱情奔跑的狗，而是被人为所驱使的赛狗。

Alternative modernities, so conceived, are cultural, not structural: they differentiate not social systems, but sets of values typically, a distinctive combination of morality and sensibility, making up a certain national 'style' of life.

他所看到的另类现代性是文化上的不是结构上的，差别体现在价值观上而不是社会体制上。典型的情况是道德和情感的独特结合构成某种民族的生活方式，但恰恰因为这是对某个文化来说独特的东西，一般情况下最不容易转移到其他地方，也就是说它是无法普遍化的东西。

The sum impression which one gains of her is of a crystalline transparency, as if she is the sort of woman who can offer a man no companionship but the platonic kind, and her broad, unclouded forehead is expressive of a subtle intelligence; but when, lost in sentimental reverie, she breaks into a sudden smile of happiness, or when, at the sight of someone dear to her, a flush of pleasure suffuses her face and dimples appear on her cheeks, one feels for the first time that it would be possible to love her and that she does indeed deserve to be loved－one realizes, in fact, that she is a woman after all, a woman no different from all the others.

整个地来看她，她似乎是一个水晶，只能给男人精神的安慰，她的明亮的前额表现出深沉的理解；但是当她陷于情感的冥想中，忽然愉快地笑着；当她见着她所爱的，快乐的红晕散布在脸上，两颊的笑涡也显露出来的时节，你才觉得出她是能被人爱的，应当被人爱的，你才知道她到底是一个女人，跟一切年轻的女人一样。

Liu Qingyuan has marched forward in his own way from the start. In such a snobbish and superficial world, the fact that Liu Qingyuan did not follow a certain "successful" or "popular" mode, but chose the local Chinese culture in his black and white woodcut world, and to continuously make images that stimulates and inspires, is truly a remarkable individuality, as well as a quality a true intellect shall have.--Ma Yongjian, Art Historian

刘庆元始终坚持以自己的方式在前行——在今天这样一个功利和浮躁的社会，刘庆元能够不去追随某种&业已成功&或者&流行&的模式，而以一种知识分子的心态去在他的黑白木刻世界中关注中国本土的文化情境，不断创造那些能够刺激我们心灵，引发我们思考的形象，这不能不说是一种个性的体现，也是一种艺术家所应该具有的知识分子情感的体现。

By contrast, in a one-night stand relationship the rule of keeping love separate from sex must be strictly followed. The purpose of this study is to investigate how one-night standers deal with the ideologies of sex/love when they fall in love with other one-night standers.

摘要社会中普遍存在的「性爱合一」意识形态，规范了人们在性方面的行为举止，可是在一夜情里却必须严守「性爱分离」的游戏规则，本研究聚焦於「一夜，情未了」的经验，以深度访谈法搜集资料，探讨八位受访者在一夜情中让自己投入情感的因素、两人互动的情况、以及如何经营彼此的亲密关系，希望能呈现当中复杂的过程。

The sharing of joy, whether physical, emotional, psychic, or intellectual, forms a bridge between the sharers which can be the basis for understanding much of what is not shared between them, and lessens the threat of their difference.

无论是生理的、情感的、心理的、或智力的，对欢乐的分享都在分享的人之间搭了一座桥，它成为了他们理解彼此尚未分享的东西、以及减轻他们间的分歧所带来的威胁的基础。

While his efforts were brilliant and extremely influential in the development of theology, critics charged that rather than salvaging Christianity, Schleiermacher betrayed crucial aspects of the faith in his redefinition of religion in terms of the human feeling of dependence.

而他的努力，辉煌和非常有影响力的发展，神学，批评者指控说，而不是救国救民的基督教，施莱尔马赫背叛的关键方面的信念，在他的重新界定宗教的条款对人类情感的依赖。

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。