描写的人

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。

Nowadays, what human being long for in their hearts are those great arts, which can play greater supportive roles in people's lives, which can reflect the confidence and the great psychological behavior and the relatively bright value part of human being. The art in the 20th century simply expressed the schizophrenia, mania, uneasiness and vacuity as well as insignificant depiction of personalization. This kind of art has serious deficiencies and limitations. Should the 20th century be proud of schizophrenia and self-torture? Should the 20th century use a narrow language to cope with art achievements of the past thousand years?

在这个时代，人类内心渴望的，就是这些伟大的艺术，她能够在人们的生活之中起到更大的支撑作用，艺术依然能够反映人类所应有的那种自信、伟大的心灵生活以及人的所有比较光明的价值部分。20世纪的艺术单一地表达人的精神分裂、迷狂、不安和无聊，以及琐碎的个人化的描写，是有很大不足和局限性的。20世纪是不是应该为自己的梦呓、精神分裂、自虐等价值骄傲，以及用狭隘的个人语汇来面对几千年的艺术成果呢？

Among them is all-seeing Deeti, a young village woman rescued from her husband's funeral pyre; sparkling-eyed Zachary Reid, a freedman from Baltimore; Serang Ali, head of the ship's crew of lascars, with a face that "would have earned the envy of Genghis Khan"; Neel, a bankrupt Raja, whose presence can silence a room,"leaving a few last threads of sound to float gently to the floor, like the torn ends of a ribbon"; and a spirited French orphan, Paulette, and her Indian soulmate, Jodu, the son of a boatman.

在所塑造的人物中，有能够洞察一切的蒂缇，一名从她丈夫的葬礼材火堆中被救出的年青村妇；有目光炯炯的扎克里·里德，一名来自巴尔的摩的自由民；有瑟让·阿里，船上那些东印度水手的水手长；他的模样"让成吉思汗①都艳羡不已"；尼尔则是个落魄的印度王公②，他一出现就会全场顿时变得鸦雀无声，作者对此的描写是大家都"只等最后几丝杂音渐渐轻柔落地，如同被人撕碎的丝带从空中飘落下来一样"；还有一个精神充沛的法国女人保罗莱特，她是名孤儿，以及她的知己，印度人爵都，他是一个船夫的儿子。

Pagans dwell forever in Limbo on the edge of Hell, suffering only the hopelessness of the unbaptized that can never reach God's presence. Yet Dante not only chose the vernacular for the Divine Comedy but also wrote a treatise in Latin urging others to follow his example. Furthermore, he modeled the style

神曲》描写了人类战胜邪恶、到达人生真善美境界和实现理想社会的故事，抨击了封建社会的精神支柱——天主教教会的各种罪恶，谴责了统治阶级的腐败和贪婪；赞美了现实生活，强调人的价值和理性的伟大，认为人对自己的命运具有不可推托的责任；提倡追求知识、反对蒙昧。

With its portrayals of U.S. presidents who were African-American, the show presaged the arrival of Barack Obama in the real-life White House.

对美国总统是非裔美国人的描写，预示着现实中奥巴马将入驻白宫。

Balzac in their own life experiences, through detailed descriptions and penetrating portrait of a capitalist society between people naked money relations, with a sharp pen portrait of a contemporary Paris, France - which flourished behind temporary society forward to the many stories, it is a microcosm of Bourbon is a true portrayal of the capital class.

巴尔扎克以自己的生活体验，通过细致描写，入木三分地刻画了资本主义社会里人与人之间赤裸裸的金钱关系，用锋利的笔刻画出了当代法国巴黎--哪一个兴盛一时的社会背后隐藏着的许许多多的故事，它就是波旁王朝的缩影，就是资本阶级的真实写照。

Balzac in their own life experiences, through detailed descriptions and penetrating portrait of a capitalist society between people naked money relations, with a sharp pen portrait of a contemporary Paris, France - which flourished behind temporary society forward to the many stories, it is a microcosm of Bourbon is a true portrayal of the capital class.

巴尔扎克以自己的生活体验，通过细致描写，入木三分地刻画了资本主义社会里人与人之间赤裸裸的金钱关系，用锋利的笔刻画出了当代法国巴黎--哪个兴盛一时的社会背后隐藏着的许许多多的故事，它就是波旁王朝的缩影，就是资本阶级的真实写照。

Balzac in their own life experiences, through detailed descriptions and penetrating portrait of a capitalist society between people naked money relations, with a sharp pen portrait of a contemporary Paris, France - which flourished behind temporary society forward to the many stories, it is a microcosm of Bourbon is a true portrayal of the capital class.

巴尔扎克以自己的生活体验，通过细致描写，入木三分地刻画了资本主义社会里人与人之间************裸的金钱关系，用锋利的笔刻画出了当代法国巴黎--哪个兴盛一时的社会背后隐藏着的许许多多的故事，它就是波旁王朝的缩影，就是资本阶级的真实写照。

In "A Dream of Red Mansions", Xi ren is the servant girl who described most detailed.

在《红楼梦》中袭人是作者描写最为细致的丫鬟之一。

Richard: Monica's making us watch Old Yeller.

Old Yeller：【《老黄狗》一译《父亲离家时》，这是一部描写人与狗感情的经典名片。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。