情感的

Whatever to realize the human value,to develop human society,or to prettify human character and creative styles,even to improve the probability of human evolution,and perfect the social living and so on,an "emotional"environment should be made well,restore and develop the basic property of pure feeling,make a complete feeling system.

无论是实现人类的本体价值，还是推进人类社会的良性建构与健康发展，或者是引发人类个性的优美化、创新风格的多样化，以至提高人类自身进化的几率，完善社会生活的有序化，等等，都需要营造良好的&有情&氛围，即，还原与发扬怡然纯真的情感基质，建造完整的情感系统。

Whatever to realize the human value,to develop human society,or to prettify human character and creative styles,even to improve the probability of human evolution,and perfect the social living and so on,an emotionalenvironment should be made well,restore and develop the basic property of pure feeling,make a complete feeling system.

无论是实现人类的本体价值，还是推进人类社会的良性建构与健康发展，或者是引发人类个性的优美化、创新风格的多样化，以至提高人类自身进化的几率，完善社会生活的有序化，等等，都需要营造良好的&有情&氛围，即，还原与发扬怡然纯真的情感基质，建造完整的情感系统。

Whatever to realize the human value,to develop human society,or to prettify human character and creative styles,even to improve the probability of human evolution,and perfect the social living and so on,an "emotional"environment should be made well,restore and develop the basic property of pure feeling,make a complete feeling system.

无论是实现人类的本体价值，还是推进人类社会的良性建构与健康，或者是引发人类个性的优美化、创新风格的多样化，以至提高人类自身进化的几率，完善社会生活的有序化，等等，都需要营造良好的&有情&氛围，即，还原与发扬怡然纯真的情感基质，建造完整的情感系统。

Whatever to realize the human value,to develop human society,or to prettify human character and creative styles,even to improve the probability of human evolution,and perfect the social living and so on,an "emotional"environment should be made well,restore and develop the basic property of pure feeling,make a complete feeling system.

无论是实现人类的本体价值，还是推进人类社会的良**建构与健康发展，或者是引发人类个**的优美化、创新风格的多样化，以至提高人类自身进化的几率，完善社会生活的有序化，等等，都需要营造良好的&有情&氛围，即，还原与发扬怡然纯真的情感基质，建造完整的情感系统。

Through different rhythms, time changing, many tonalities changing, lots of musica images and the combination of musica spirits, composer makes the whole tune have vivid nationality and times on the expression of contents of musica emotions, while at the aspect of musica taste effect,he also organically blends musica's beauty of stiuation, beauty of environment and beauty of happy into one.

作曲家通过多种节奏、节拍的变换；多种调性的转换；多种音乐形象、音乐情绪的组合等手法，使整首乐曲在音乐情感内容的表达上，具有鲜明的时代性与民族性；在音乐的审美效应上，有机地将音乐的情境美、情感美、欢乐美融为一体。

Anciently, most researches focused on the history or culture of furniture. And lessinvestigation has been made into studying human''s image and affective expression about form element of furniture. It is difficult to make a good design to meet the consumer''s mental feeling if it is not considered by affective expression theory in furniture design.In this research, we take modern classical furniture as a case to study their emotion image.

以往的研究中，对于家具的研究大多局限在家具的历史与文化上，或者是对家具造型设计的探讨；而较少地探讨家具造型形态元素带给人的心理意象及情感体验，更没有完整的论述家具设计情感化的理论，这使得设计师在进行家具造型设计时无法有效掌握消费者的心理及情感需求，导致设计上的盲目和限制。

This paper mainly consists of five parts. The Introduction mainly defines the scope and relative concepts, and covers the present situation of research about it. The first chapter traces the Seeing-off-poetry's cultural origin, classifies its emotion contents and artistic achievements, and differentiates the flows from the base of comprehensive reorganization of the Seeing-off-poetry from pre-Qin to latter-Han Dynasty. The second chapter studies its variations about styles, artistic expressions, and gentries' spirit features. And in this part we also discuss the reasons of Four-word-see-off-poetry's booming and its peculiarities in Jin Dynasty. The third chapter demonstrates the influence on Seeing-off-poetry in the Early and Glorious Ages of Tang Dynasty such as the construction ways, poetry images and emotion styles. The Appendix enumerates all the 465 Seeing-off poems' tittles, authors, their birth and dead time, writing time and sources of quotation one by one, so that all of them can be checked to prepare the investigation.

论文主要有五个部分：&绪论&重在界定魏晋南北朝送别诗的研究范围和相关概念，并对其研究现状作一全面回顾；第一章&送别诗溯源&，在全面整理先秦两汉送别诗的基础上，对《诗经》以来送别诗的文化渊源、情感內容和艺术成就分类概说，辨明其源流；第二章&魏晋南北朝送别诗研究&，从诗体、艺术表达、士人精神风貌三个角度研究这一时期送别诗的演变，并探讨两晋时期四言送别诗的繁盛原因及其特点；第三章&对唐代送别诗影响&，从建构方式、诗歌意象、情感风格三个方面论证魏晋南北朝送别诗对初盛唐送别诗的影响；&附录&部分列出魏晋南北朝送别诗系年一览表，分朝代逐条列举魏晋南北朝465首送别诗的诗题、作者、生卒年、创作时间及其出处，以备查考。

Other dimensions of father's involvement were not variated in terms of children' age. Father's involvement was not different in terms of children's gender. Fathers who were androgyny were involved more than other fathers of sex role types and who was masculinity involved more than femininity and undifferentiation.

双性化的父亲对儿童的互动监督、规则约束、情感表达、间接支持、学业鼓励均显著多于其他性别角色的父亲；男性化的父亲对儿童的规则约束显著多于女性化的父亲；女性化的父亲在互动监督、情感表达、间接支持和学业鼓励方面均显著多于未分化的父亲。

Other dimensions of father's involvement were not variated in terms of children'sage. Father's involvement was not different in terms of children's gender. Fathers who were androgyny were involved more than other fathers of sex role types and who was masculinity involved more than femininity and undifferentiation.

双性化的父亲对儿童的互动监督、规则约束、情感表达、间接支持、学业鼓励均显著多于其他性别角色的父亲；男性化的父亲对儿童的规则约束显著多于女性化的父亲；女性化的父亲在互动监督、情感表达、间接支持和学业鼓励方面均显著多于未分化的父亲。

If people would but leave children to themselves; if teachers would cease to bully them; if parents would not insist upon directing their thoughts, and dominating their feelings--those feelings and thoughts which are a mystery to all for how much do you and I know of each other, of our children, ofour fathers, of our neighbour, and how far more beautiful and sacredare the thoughts of the poor lad or girl whom you govern likely tobe, than those of the dull and world-corrupted person who rules him?

如果咱们对孩子放松一些，做老师的不欺压学生，做父母的不坚持着引导儿女的思想，控制儿女的情感，我认为决没有害处。人的思想情感最难捉摸。譬如说，你我之间何尝互相了解呢？自己的孩子、父亲、街坊邻舍，心里在思量什么，咱们何尝知道呢？呆钝腐朽的成年人偏爱管教小辈，其实小孩子的思想比他们的高超神圣得多着呢。

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。