感觉不到的

There is some Chinese tradition in works of Xieda, esp. ancient characters. Chinese ancient characters are hieroglyphic, which abstract from life. Xieda transfers some factors of hieroglyph into his works with creativity. What is called to find the origin of China or the orient is to find the thinking pattern of this nation.

我在解读的过程中，觉得还是有一些中国传统的东西，尤其是上古的文字，如金文、甲骨等这一类古文字的形态，中国的古文字是以象形文字为主的，而象形文字实际上是从生活当中抽象出来的，这个抽象的过程实际上已经是非常精炼的，在中国古代，文字就是一个最直接的抽象艺术，燮达把它转化过来，转化到他的作品当中，却又不是很机械的模仿，而是把它的一些因素转化过来，使得作品有这种象形文字的感觉。

She's not a girl who misses much Do do do do do do- oh yea! She's well acquainted with the touch of the velvet hand Like a lizard on a window pane The man in the crowd with the multicoloured mirrors On his hobnail boots Lying with his eyes while his hands are busy Working overtime A soap impression of his wife which he ate And donated to the National Trust I need a fix 'cause I'm going down Down to the bits that I left uptown I need a fix cause I'm going down Mother Superior jumped the gun Mother Superior jumped the gun Mother Superior jumped the gun Mother Superior jumped the gun Happiness is a warm gun Happiness is a warm gun, momma When I hold you in my arms And I feel my finger on your trigger I know nobody can do me no harm Because happiness is a warm gun, momma Happiness is a warm gun -Yes it is. Happiness is a warm, yes it is...

她不是一个错过机会的女孩嘟嘟嘟嘟嘟嘟她很熟悉那纤纤细手的抚摸像蜥蜴栖息在在一个窗格上人群中的这名男子拿着多色镜穿着平头靴当他在忙于工作加班时，他用他的眼神说着谎他将妻子的令人印象深刻的甜言蜜语捐献给国家希望工程我需要我会堕落的理由堕落到离开家我需要我会堕落的理由母亲早早地走掉了母亲早早的离开了母亲早早地走掉了母亲早早的离开了幸福是一个温暖的枪幸福是一个温暖的枪，妈妈当我拥你入怀我感觉我的手指在扣动扳机我知道没有人可以伤害我因为幸福是一个温暖的枪，妈妈幸福是一个温暖的枪-是的幸福是暖暖的，是的，是——枪！

From May 4th Movement of 1919 to the 1920s, sex love narrations in Chinese novels were rather an enlightenment and liberation in that particular era with four characteristics. Firstly, sexual desire was endowed with rationality with regard to liberation of human nature and mutual love. Secondly, with an epochal concern for a stronger and superior race, greater attention was paid to sexual parties concerned, mainly physically. Thirdly, new ethics on sex were promoted in that personal freedom on sex love was emphasized and sex love became an important way of self-fulfillment. Therefore, independence of sex love was advocated and the scope of sex love was also widened. Fourthly, the sex consciousness of this period had the mixed features of the past and the contemporary. Sex love narrations in the 1930s and 1940s showed a further exploration on the theme of human nature. First of all, sex was restored to a kind of desire. ShenCongwen probed the importance of harmonious sex love to a sound personality and Shi Zhecunrevealed that sexual inhibition could lead to the distortion, even frenzy of human nature. Bothexplored the influence and functions of sexual desire as human nature upon human personality,giving prominence to the irresistibleness of sexual desire and the significance of sexual desire asa motive. Then, human bodies driven by sexual desire were described and given greater attentionto. Next, ethics on sex were deconstructed either by Shen Congwen who opposed man-madeethics with law of nature and the School of New Sensation who replaced traditional ethics on sexwith exchange rules in consumption, or by Shi Zhecun who spared no efforts in representing thecomplete failure of social rules, including ethics on sex, due to the impact from sexual desire.The direct effect was a paleness of the ethical binding force on sex. Last, sex consciousness inthe works of female writers emerged. In the early works of Ding Ling, the sexual desire of thefemale is no longer a ramification of emotion but an independent one. In addition, in the sex lovenarrations of other female writers, such as Mei Niang, strong self-consciousness on the socialstatus of the female is also reflected. Sex love narrations in the late 1970s and early 1980s wereactually a re-enlightenment in the spirit of humanism, whose major features include humanisticlegitimation of sex love within the boundary of ethics, a blend of sex love narrations withnational concepts and national myths as well as the aesthetic, poetic descriptions of humanbodies etc. In the middle and late 1980s, sex love narrations entered a stage of exploration forpluralism. First, by restoration of sexual desire, writers of this era restored human nature, thevery original state of human being. Different emphasis and tendencies could be seen in differentwriters: looking at sex love dialectically and trying to describe its creative as well as destructivecharacteristics; connecting sex love with violence and trying to reveal the evil side of humannature through it; emphasizing the creativeness of sex love especially in the heritage of"wildness".

从"五四"到20世纪20年代，中国小说的性爱叙事是一种处在时代夹缝中的启蒙和解放，其所表现出来的特点，一是正面赋予性欲望以合理性，这种合理性是在人性解放和爱情前提下获得的；二是在强种育种的时代焦虑影响下小说性爱叙事表现出对物质身体的关注，其焦点主要在体格方面；三是树立起新的性伦理道德观念，表现为强调在性爱问题上的个人选择自由，性爱成为个人自我实现的重要方式，从而赋予人在性爱问题上的独立性，同时还扩大了性爱表现的领域；四，这个时期小说性爱叙事中所表现出的性意识还具有新旧杂糅的特点。30、40年代小说性爱叙事表现出对人性主题的深化与丌拓，首先是把性还原为欲望本身来探索，沈从文从和谐性爱对健全人性的决定作用、施蛰存从性压抑会导致人性扭曲甚至疯狂的角度探讨作为人类本质性欲望的性对人性产生的影响和作用，突出了性欲力量的不可抗拒和作为人类行为的重要动力等方面的内容；其次在叙事中表现出对欲望化了的身体的描绘与关注；第三是解构了性的伦理道德，无论是沈从文以自然法则来反对人为的道德设置还是新感觉派用消费交换原则替代传统性伦理道德，或是施蛰存极力表现包括性伦理规范在内的社会法则在性欲力量冲击下溃不成军，其直接的效果都是使性伦理道德对人的约束力量显得苍白虚弱；第四，出现了由女性作家表现的女性性意识，在丁玲的早期作品中女性的性欲望不再是作为感情的衍生物而是独立的欲望存在，而在梅娘等其他女作家的小说性爱叙事中则表现出对女性社会地位的强烈自觉意识。70年代末80年代初期小说的性爱叙事实际上是在人道主义语境下的再次启蒙，其主要特征一是性爱在人道主义前提下获得合法性，但要求性爱不超出伦理规定的范围；再就是将性爱叙事同国家观念和民族神话相融合；此外还有对身体的描写审美化诗意化等。80年代中后期，小说性爱叙事进入了多元化探索的阶段，作家通过还原性欲望来还原人性、还原人类的本真状态，不同作家笔下表现为不同的侧重和倾向——以辨证的方式看待性爱，写出其具有的创造性力量和毁灭性特征；将性爱与暴力相联系并通过其来表现人性的黑暗；强调性爱的创造性作用，尤其在民族"血性"的传承方面。

Perhaps i say like this,it's not honesty.my heart just the same feel a little lose.when all is said and done,it's a decision which is forced to make up.it's not my voluntary.it always ask us to think that we are the people to be cast away.at the same time,because of my parents,i also hope to accompany with them when they are still healthy.so i also lean to come back to china.on the other hand,i can understand the decision of the school.after all the school broke ground only a short time,it has many necessary consumption,it needs many money to supply.but we are too valuableness for the school,even if we are not satisfied with the treatment and the salary.only for the situation that school has not gived us any explanations,and then has made the decision.i think it is not done.kick down the ladder,it's not a good feeling.well,china has a old saying,"gather well,and fall apart well."

或许这样说，并不是很诚实。内心还是有些失落的，毕竟这是被迫做出的决定，还不是我主动的，总有一些被人抛弃的感觉。但是，也因为我一直考虑到父母，我希望在他们身体健康的时候，自己可以陪伴在他们身边，所以还是很倾向回国的。另一方面，我也可以理解学校的决定。毕竟学校创办之初，有许多需要花钱的地方，我们对于学校略显"昂贵"了一些，即使我们本身并不满意。只是学校在没有给我们任何说法的情况下便作出了这样的决定，还是有些失妥当的。有些过河拆桥的味道。罢了，中国有句老话，"好聚好散"。

Foods was very different with china,all foods was acetous,they often mixed mice and dish together,used right hand take food to mouth.their left hand never touch food,someone told me left hand would used by relieve nature.if you shake hands left hand was discourteously.i made myself adapt their bite and sup harder.but when I look dr xuqing eat dish,I could't bursting to laugh,because dish like any yellow paste..it seemd my chin be slim when i looked into the mirror.i think I should be more slim when I come back.i often dreamed to eating meat,when I awoken,I am very sad for no meat can eat.dr fengqi would come to marduri tomorrow,I phone to her I need a pure meat,dr xuqing need chocolate,she laugh us.she would think I am a boss like the film jiafangyifang by fengxiaogang directd.if one chicken in my prensence,I should let it clear fastly.

我正在艰难的适应着他们的饮食。当我看xuqing医生时吃饭时，我笑不出来了，因为盘子里的菜是黄色的糊状的东西（PS：感到恶心吧，印度菜就那样，以糊状的为主）。当我照镜子的时候，我发现我又变瘦了。待到归国时，我会更瘦地！我经常夜里做梦在吃肉，当我醒了，发现是梦时，感觉老失落了（PS：印度人以素食为主）。彭清医生明天会来到marduri，我打电话对她说我想吃肉， xuqing医生需要巧克力，她笑话我们。她会认我现在就像电影《甲方乙方》里那个被丢在农村的老板。如果现在在我面前有一只烧鸡，我会很快啃的&溜干净&。我已经在医院开始实习了。Sumit医生是ECCE实习生的带教医生，他是IOL的fellow。

From May 4th Movement of 1919 to the 1920s, sex love narrations in Chinese novels were rather an enlightenment and liberation in that particular era with four characteristics. Firstly, sexual desire was endowed with rationality with regard to liberation of human nature and mutual love. Secondly, with an epochal concern for a stronger and superior race, greater attention was paid to sexual parties concerned, mainly physically. Thirdly, new ethics on sex were promoted in that personal freedom on sex love was emphasized and sex love became an important way of self-fulfillment. Therefore, independence of sex love was advocated and the scope of sex love was also widened. Fourthly, the sex consciousness of this period had the mixed features of the past and the contemporary. Sex love narrations in the 1930s and 1940s showed a further exploration on the theme of human nature. First of all, sex was restored to a kind of desire. ShenCongwen probed the importance of harmonious sex love to a sound personality and Shi Zhecunrevealed that sexual inhibition could lead to the distortion, even frenzy of human nature. Bothexplored the influence and functions of sexual desire as human nature upon human personality,giving prominence to the irresistibleness of sexual desire and the significance of sexual desire asa motive. Then, human bodies driven by sexual desire were described and given greater attentionto. Next, ethics on sex were deconstructed either by Shen Congwen who opposed man-madeethics with law of nature and the School of New Sensation who replaced traditional ethics on sexwith exchange rules in consumption, or by Shi Zhecun who spared no efforts in representing thecomplete failure of social rules, including ethics on sex, due to the impact from sexual desire.The direct effect was a paleness of the ethical binding force on sex. Last, sex consciousness inthe works of female writers emerged. In the early works of Ding Ling, the sexual desire of thefemale is no longer a ramification of emotion but an independent one. In addition, in the sex lovenarrations of other female writers, such as Mei Niang, strong self-consciousness on the socialstatus of the female is also reflected. Sex love narrations in the late 1970s and early 1980s wereactually a re-enlightenment in the spirit of humanism, whose major features include humanisticlegitimation of sex love within the boundary of ethics, a blend of sex love narrations withnational concepts and national myths as well as the aesthetic, poetic descriptions of humanbodies etc. In the middle and late 1980s, sex love narrations entered a stage of exploration forpluralism. First, by restoration of sexual desire, writers of this era restored human nature, thevery original state of human being. Different emphasis and tendencies could be seen in differentwriters: looking at sex love dialectically and trying to describe its creative as well as destructivecharacteristics; connecting sex love with violence and trying to reveal the evil side of humannature through it; emphasizing the creativeness of sex love especially in the heritage of"wildness".

从&五四&到20世纪20年代，中国小说的性爱叙事是一种处在时代夹缝中的启蒙和解放，其所表现出来的特点，一是正面赋予性欲望以合理性，这种合理性是在人性解放和爱情前提下获得的；二是在强种育种的时代焦虑影响下小说性爱叙事表现出对物质身体的关注，其焦点主要在体格方面；三是树立起新的性伦理道德观念，表现为强调在性爱问题上的个人选择自由，性爱成为个人自我实现的重要方式，从而赋予人在性爱问题上的独立性，同时还扩大了性爱表现的领域；四，这个时期小说性爱叙事中所表现出的性意识还具有新旧杂糅的特点。30、40年代小说性爱叙事表现出对人性主题的深化与丌拓，首先是把性还原为欲望本身来探索，沈从文从和谐性爱对健全人性的决定作用、施蛰存从性压抑会导致人性扭曲甚至疯狂的角度探讨作为人类本质性欲望的性对人性产生的影响和作用，突出了性欲力量的不可抗拒和作为人类行为的重要动力等方面的内容；其次在叙事中表现出对欲望化了的身体的描绘与关注；第三是解构了性的伦理道德，无论是沈从文以自然法则来反对人为的道德设置还是新感觉派用消费交换原则替代传统性伦理道德，或是施蛰存极力表现包括性伦理规范在内的社会法则在性欲力量冲击下溃不成军，其直接的效果都是使性伦理道德对人的约束力量显得苍白虚弱；第四，出现了由女性作家表现的女性性意识，在丁玲的早期作品中女性的性欲望不再是作为感情的衍生物而是独立的欲望存在，而在梅娘等其他女作家的小说性爱叙事中则表现出对女性社会地位的强烈自觉意识。70年代末80年代初期小说的性爱叙事实际上是在人道主义语境下的再次启蒙，其主要特征一是性爱在人道主义前提下获得合法性，但要求性爱不超出伦理规定的范围；再就是将性爱叙事同国家观念和民族神话相融合；此外还有对身体的描写审美化诗意化等。80年代中后期，小说性爱叙事进入了多元化探索的阶段，作家通过还原性欲望来还原人性、还原人类的本真状态，不同作家笔下表现为不同的侧重和倾向——以辨证的方式看待性爱，写出其具有的创造性力量和毁灭性特征；将性爱与暴力相联系并通过其来表现人性的黑暗；强调性爱的创造性作用，尤其在民族&血性&的传承方面。

A neighbor next to our house, i saw he is brushing his car again today morning, as matter of fact, his car is clearest in this community since he brought it, i don't want to say more about the weather in Beijing, ourbodies can see it, the sand and some tiny grain in the air, these all would upload into the weather forecast everyday, so, the sand is in everycornor, yet, his car is very clear, even no a little bit sand in the surface of car, that's as if a poor beautiful girl, dresses up a pretty cloth, and feeling good inside when somebody say you are beauty as a car-host.

我家附近的一个邻居，今天一大早又看见他自己擦洗自己的车子，说实在的，他的车真是干净，自从买了到现在，北京的天气我想我不说，也是有目共睹的，浮沉，有吸入性颗粒物，这是每天都会上天气预报。所以，只要是在外边的物体都会有轻微的沙尘。然而，他的车基本上是一尘不染的，作为一个车主，能让人感觉自己的车很干净，就像一个不太漂亮的女孩子，穿上心仪的外衣，被别人夸的面部绯红之感。

If it was always crucial, under the threat of psychiatric sectioning, to carefully screen out any sign of confused speech, negativity, coldness, suspicion, bizarre thoughts, sixth sense, telepathy, premonitions, but above all the sense that "others can feel my feelings, and that someone seemed to be keeping up a running commentary on your thoughts and behaviour," then reporting these to a psychiatrist, or anyone else for that matter who was not of a mind to believe that such things as mind-control could exist, would be the end of your claim to sanity and probably your freedom.

如果它总是至关重要的，在威胁精神病切片，仔细筛选出任何迹象，语言不清，消极，冷漠，猜疑，离奇的想法，第六感，心灵感应，预感，但最重要的意义上说：&别人能感觉到我的感情，有人似乎跟上运行述评您的想法和行为&，然后报告这些心理医生，或任何其他人的事谁没有的态度是认为，这种事物的精神控制可能存在的，将是结束您的要求，以理智，也许你的自由。

The reasons of iron ions content overproof in grade Ⅱ desalting water system,such as variation water quality,contamination of regenerant , operation adjustment of pretreatment system and switching operation of bed were discussed.

对二级脱盐水系统中铁离子含量超标的原因，如来水水质发生波动、再生剂受到污染、预处理系统操作调整、床体运行切换等进行了论述。

You were hired to drum up new business, so go and do it.

公司雇你招徕新业务，你就做你的事好了。