情感的大变化

There are great variations in the pattern of mood swings in bipolar disorder.

有很大的变化格局情绪波动在双相情感障碍。

From these 4 studies, we could got the following conclusions:(1) The CPAI 22 traits could be divided into two categories, with the changing of age, period and cohort, type I traits didn't change, they were Logical vs Affective Orientation, Enterprise, Responsibility, Inferiority vs Self-Acceptance, Optimism vs Pessimism, Face, Family, Defensive, Graciousness vs Meanness; While with the changing of age, period and cohort, type II traits changed, they were Leadership, Self vs. Social Orientation, Veraciousness vs Slickness, Traditionalism vs Modernity, Harmony, Renqing, Meticulousness, Extraversion vs Introversion, Emotionality, Practical Mindedness, Internal vs External Locus of Control, Thrift vs Extravagance, Discipline.

总结上述四个研究的结果，我们可以得出如下结论：（1）CPAI所包含的人格特质可以分为两类，第一类人格特质不随社会发展的时间与空间分布以及年龄、代群发生明显的变化，这些人格特质包含：理智-情感、开拓性、责任感、自卑-自信、乐-悲观、面子、亲情、防御性、宽容-刻薄；第二类人格特质随着社会发展、年龄与代群三个纵向变量的发生一致性变化或者交互变化，这些人格特质包含：领导性、自我-社会取向、老实-圆滑、传统-现代性、和谐性、人情、严谨性、外向性、情绪性、务实性、外控性、节俭性、纪律性；同时，功能差异项目构成的问卷揭示出五个受社会环境影响很大的心理特征，它们分别是：犬儒-现实主义的生活态度、心理适应性、外圆内方的应对风格、自我效能感、个体主义的价值观。

Sun Lis works is sincere, simple, sophistication and poignancy, full of deep think.

晚年孙犁深厚的情感积累和丰富的生活经验使其作品的艺术风貌(结构方式、文体选择、语言风格等)发生了较大变化。

Topics presented will include: cultures of commodification an commodification of cultures; the importance of design to capital today; architecture and the design of cities; interior design or the re-emergence of privacy and phantasmagorias of the interior; new media and digital technologies in the shifting terrain between book and web design; fakes, fashion, and global commodities; branding and packaging; cinema as critique of space and affectivity; music and cultural memory; visual arts and visual culture; censorship and other constraints on design.

本届研讨会将最大程度的在广义上探讨设计问题，议题包括以下各个方面：商品化文化与文化的商品化；设计对于当今资本的重要性；建筑与城市设计；室内设计或私秘空间的回复与致幻型室内设计；在书籍设计和网络设计的地盘不断变化中新媒体和数码技术的作用；冒牌货、时尚和全球商品；品牌打造和包装；电影对情感和影响效应的解读；音乐和文化记忆；视觉艺术与视觉文化；审查制度以及其他对于设计的制约。

Li Gu of one singing always is can the linear characteristic; that utmost ground highlights melody tone change to combine is right the adornment of word sound makes original melody more beautiful, more the need that accords with case of zephyr of mood dialect and vocal content expression, affection, she is multi-purpose on skill the opera bites word law.

李谷一的演唱总是能够最大限度地突出旋律乐音变化组合的线性特征；对字音的装饰使原来的曲调更美、更符合语气语调和歌唱内容表达、情感和风格的需要，技巧上她多用戏曲咬字法。

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。