意识

Speak for itself, TV media have been more competitive between each others since this century. People in the industry realized the task of scrabbling audience and absorbing attention, countermining with other media, lifting profits of advertisement, thinking over the reform of channel, adjusting distribute of benefit, thinking over exertion of the whole capital, handling the plundering from the foreign media. The competition has also come from other media and the same craft, we should change our idea of TV media and take the industry policy as a kind of effective tactic to change the old idea.

不言而喻，进入新世纪后电视传媒激烈竞争的态势愈发明显，电视传媒充分意识到入世之后面临着从争夺观众和抓住眼球注意力、对抗其它多样媒体冲击、抢夺与提升广告收入、焦虑改版对频道的压力威胁、调整合并后的资源分配整合、考虑整体资本运营、关注外来资本媒介对人才需求的争夺等等方面都需要加大革新力度，在同样背景下直面国内其他媒体的抗争和同行的一个平台上的争斗，需要从根本上解决观念转化，也需要把产业化运作作为扭转传统电视的旧有意识的有效推进策略。

The investigation found that the public have a prime concern over the cause of the water pollution, that public awareness is superficial; the pubic have dependence on government in environmental action but the enthusiasm of public participation was low; environment information channel was simple and hasn't been utilized; and finally the amount WTP of Daps town in 2003 is 0.55～0.98 million Yuan.

结果表明：①居民对水环境污染的原因有了初步的认识，但与实际有明显偏差；②浅层次的局部的&日常生活环保型&环境意识依然存在；③居民在环保行为上为&政府依赖型&，整体参与环保意识不强；④居民获取环保信息渠道单一，政府对主要的信息发布渠道重视不足；⑤2003年该镇居民总支付意愿为55.3～98.2万元。

Knowledge is rules including natural laws disentangled by consciousness and embedded in brain unconsciousness.

知识是包括规律在内的规则，由意识加工而成，潜伏在大脑的无意识中。

The second chapter of this thesis first tries to discuss the growth of Joyce's personal ideology and its influence on the formation of his early aesthetics from the three aspects: growth of Joyce's consciousness of the sufferings of his nation, rebelling against religion and critically absorbing religious culture, and estranging from his family.

论文第二部分首先从乔伊斯民族意识的产生、对宗教信仰的叛离和宗教文化的借鉴和摒弃以及与家庭的决裂三个方面论述其个性思想意识的形成及其对美学思想的影响，然后分析了乔伊斯对易卜生、亚理斯多德和阿奎纳等大师美学思想的批评吸收，从而形成别具特色的美学原则。

Then, this thesis analyzes the subjective causes of the impact on Chinese movie industry made by American movies: Chinese people's taste of movies are getting increasingly Americanized and Europeanized; Chinese people, domestic media and the Chinese government have not been fully aware of the importance of protecting Chinese domestic movies.

在分析客观原因后，本论文进而论述了美国电影对中国电影业造成冲击的主观原因：一方面，中国观众的口味日趋欧美化使中国电影流失了相当一部分观众；另一方面，国人保护国产电影的意识还很淡薄，无论是国内观众、媒体，还是中国政府对于保护国产电影的意识都尚待加强。

Then, thisthesis analyzes the subjective causes of the impact on Chinesemovie industry made by American movies: Chinese people's taste ofmovies are getting increasingly Americanized and Europeanized;Chinese people, domestic media and the Chinese government have notbeen fully aware of the importance of protecting Chinese domesticmovies.

在分析客观原因后，本论文进而论述了美国电影对中国电影业造成冲击的主观原因：一方面，中国观众的口味日趋欧美化使中国电影流失了相当一部分观众；另一方面，国人保护国产电影的意识还很淡薄，无论是国内观众、媒体，还是中国政府对于保护国产电影的意识都尚待加强。

Understand one must release all sides of any pattern; therefore one will release and forgive those that have cursed, hexed, spelled or mechanized oneself, and one will forgive oneself for cursing, hexing, spelling and mechanizing others in the unconscious and without one's awareness to complete with any particular bandwidth of karma and thought-form.

理解你必须释放任一模式的所有方面；因而你将释放和宽恕那些对你实行诅咒、魔法、符咒和机械的人，而你将宽恕在无意识中对他人实行诅咒、魔法、符咒、机械和没有意识到要去完成任何特定带宽的业力和思想形态的自己。

In such a way a series of vivid characters were produced during this period of timeIn the later half of 1940,movie literature scripts complied with the historical process of the Chinese modem literature,and echoed the turbulent tide of the times.Either emphasized on the consciousness of social criticism,or inclined to the consciousness of humanism,its ideological nature and the direction for creation was very explicit.But this "directional" expression and the demand were not conceptual,or stiffly inbreathed. It is the "concrete image",the "metaphor" of the text,revealed naturally in accordance with the development of the plot and the molding of characters.It can be said as "the wind rippled the surface of the water naturally" and presented excellent artistic technique and high standard.The film scripts writers of the society group undertook the Chinese movie tradition of moving with the history,on an unusual level achieved a new altitude of ideology,and obtained a new artistic achievements.

由于电影文学剧本独特的语言表达方式，其在人物塑造上具有不同于小说、戏剧的特点。1940年代后半期电影剧作者高度重视电影文学剧本中人物形象的塑造，运用电影化的思维方式来刻画人物，依托人物性格的发展来展开故事，使得这时期电影文学剧本在引人入胜的故事书写中，绘就出了一长串内涵丰富、形象生动、有血有肉的人物群。1940年代后半期电影文学剧本既顺应着中国现代文学的历史进程，又呼应着动荡巨变的时代大潮，无论是侧重社会批判意识的，还是倾向人文关怀意识的，其思想性或方向性是非常明确的，但这种&方向性&的表达和诉求既不是概念性的，也不是生硬的灌输，而是&具体形象&的，是&隐寓&文本之中，在故事情节发展和人物性格塑造之中自然而然地流露出来的，可以说是&风行水上，自然成纹&，呈现出高超的艺术技艺和水准。

There is only One Consciousness manifesting as individuated consciousnesses.

不同的个体化意识只是全一意识的展现。

Consciousness and matter and energy are one, but consciousness initiates the transformation of energy into matter.

意识和物质，能量是合而为一的，但意识发动了能量向物质的转化。

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。