情感的

And then to discuss the relationship within individual art works and Cosmopolitism from the art works of my university period (1996-1999) to graduate school (2006-2008). The thesis is based on gay affections and awareness in activities of daily life. It also combines different art forms such as Literature, Design and Sculpture, attempting to find new creative notions, inner affections and pressures of social morality.

并探讨作者之作品与自我追求「大同」世界的关系，并从大学时期(1996~1999)至研究所时期(2006-2008)的作品，论述个人创作与情感的关连，主要探讨创作中的同志感情与生活的体认，并结合各种艺术形式，例如文学，设计与雕塑，试图从各种艺术找寻新的艺术创作理念，同志艺术家内心的情感，与社会道德赋予个人的压力。

In the political mobilization, the Party tried to wake up the emotional deep inside the farmers. In the later revolutions, the Party developed a complete emotional mobilization system which included "complaint","accusation" and "criticism and self criticism".

中国共产党对农民情感的唤起是其政治动员的关键，而且在以后的革命中，共产党形成了一整套完整的情感工作体系，这套体系保障了革命的成功，并在中国留下了深刻的印记。

The second one is vague and depressed, heavyhearted and melancholy such as Hetangyuese and Jiangshengdengymlideqmghuaihe.There are four aspects that consist of the style of language rhythm in Zhu Ziqings proses: Firstly, image language description shows the style of language rhythm and coincide with his subtle feelings.

朱自清散文语言的音乐美表现在四个方面：一是表现在他散文的意象性语言的描绘中，朱自清极善于把意象化的画面转换同主观情绪、情感的变化有机揉和在一起，使读者感受到一股含蓄深隐的情绪、情感之流，听到源于作者灵魂深处的心灵之声。

The raise sings the artistic expressive force needs to carry on artistic to the song processing, hits basic skills which sings; To song emotion processing, the emotion connotation which sings richly, and unifies the two utilizes in sings, sings in good voice and with feeling the performance, causes to sing to achieve the touching boundary, produces the artistic results which gladdens the heart.

培养歌唱的艺术表现力需要对歌曲进行艺术的处理，打好歌唱的基本功；对歌曲的情感的处理，丰富歌唱的情感内涵，并且把2者结合起来运用于演唱中，声情并茂的表演，使歌唱达到感人的境界，产生沁人肺腑的艺术效果。

The raise sings the artistic expressive force needs to carry on artistic to the song processing, hits basic skills which sings; To song emotion processing, the emotion connotation which sings richly, and unifies the two utilizes in sings, sings in good voice and with feeling the performance, causes to sing to achieve the touching boundary, produces the artistic results which gladdens the heart.

培养歌唱的艺术表现力需要对歌曲进行艺术的处理，打好歌唱的基本功；对歌曲的情感的处理，丰富歌唱的情感内涵，并且把二者结合起来运用于演唱中，声情并茂的表演，使歌唱达到感人的境界，产生沁人肺腑的艺术效果。

If you will try to form a notion of yourself, of the sort of a something that you suspect to inhabit and partially to control your flesh and blood body, you will encounter a walking bundle of superfluities: and when you mentally have put aside the extraneous things—your garments and your members and your body, and your acquired habits and your appetites and your inherited traits and your prejudices, and all other appurtenances which considered separately you recognize to be no integral part of you,—there seems to remain in those pearl-colored brain-cells, wherein is your ultimate lair, very little save a faculty for receiving sensations, of which you know the larger portion to be illusory.

当你在思想上把这些多余物搁置一边——你的衣服、四肢、躯体，你的习惯、口味、遗传特点及偏见，还有其他所有细想之下觉得非必需的附属品——然后你就会发现在人类最后的家园——珍珠色的脑细胞中，几乎就没有留下接收情感的感官了。而你很清楚：大部分的情感不过是幻觉罢了。

If you will try to form a notion of yourself, of the sort of a something that you suspect to inhabit and partially to control your flesh and blood body, you will encounter a walking bundle of superfluities: and when you mentally have put aside the extraneous things—your garments and your members and your body, and your acquired habits and your appetites and your inherited traits and your prejudices, and all other appurtenances which considered separately you recognize to be no integral part of you,—there seems to remain in those pearl-colored brain-cells, wherein is your ultimate lair, very little save a faculty for receiving sensations, of which you know the larger portion to be illusory.

当你在思想上将一切身外之物，如衣物、亲友、身体和后天形成的习惯、口味以及与生俱来的特质、偏见以及其它一切你认为不属于自己的东西，统统抛诸脑后，那么在你最后的精神家园----珍珠色的脑细胞中，用来容纳情感的空间就微乎其微了，而这种所谓的情感绝大部分也只是幻想。

It is the main purpose of this paper to display the direction of Kant's thought toward the western contemporary philosophy with the relation of time and feeling in the appearance of sensus communis as the base a piori of feeling, at the same time, this direction provides the point of contrast.

这篇论文写作的主要目的，就是想以情感与时间以及二者之关系这线索，来展示在作为情感的基础的共通感的显现过程中，康德的思想发展过程，并进一步昭示出康德与现代西方哲学之关系。

Making sensus communis be the base a piori of feeling is the great contribution of Kantian philosophy through which the problem of feeling take the center position for the first time and therefore the direction of thinking is changed.

而在对人的能力的研究中，康德的特殊之处即在于，阐发的情感的先天的基础——共通感，使得情感问题第一次处于中心地位，由此而显示出一种思维方式的根本转换。

Old man, daddy, dad, father, male parent Start, begin, commence Kid, child, offspring c Synonyms that differ in their emotive or evaluative meaning There are words that bear the same meaning but express different emotions of the user, indicating the attitude or bias of the user toward what he is talking about.

情感意义或评价意义有所不同的同义词。有着相同的意义却表达了使用者的不同情感的词语，这些词暗示使用者对他所谈论的事情的态度或倾向。

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。