文艺复兴的

Don Quixote is a funny and sorrow story, a work that makes readers taste deeply sorrow when they are laughing at scenario of story. This text divides the meaning of Don Quixote into three layers. The first layer is taste layer, to analyse the comedy of absurdness and the tragedy of sublimity in Don Quixote. The second layer is history layer, to analyse that Don Quixote reflects the

本文把《堂吉诃德》的意蕴分为三个大层次，第一层是审美情韵层，主要分析了《堂吉诃德》荒诞的喜剧美和崇高的悲剧美；第二层是历史内容层，结合塞万提斯本人的经历和西班牙当时的历史，分五个层次进行阐析——塞万提斯本人的真实映射、西班牙社会的真实写照、摩尔人被驱逐的血泪史、西班牙海外殖民历史的曲折反映、反映了西班牙人文主义者与农民的社会关系等；第三层是哲理意味层，剖析了堂吉诃德的疯癫中显示的生命真实，从中看到知识分子"知其而不可为而为之"的人生态度，也映射出的塞万提斯的人文主义思想及其信仰危机和他心中的宗教理想，表现了作为文艺复兴后期代表的塞万提斯的进步的人文主义思想，蕴涵着作者心中无法磨灭的宗教理想，寄托了塞万提斯心中的爱憎和理想。

The special thing about Liu's art is that his works are not expressions of general emotions (what is commonly known as 'follow the feelings'), or graceful skills, or utilitarian interpretations of practical questions the latter is originated from France in the 18th century and its revolutionary tradition, namely political and utilitarian behaviorism tradition. French didacticism philosophers in the 18th century, just like the early renaissant civic humanists, advocated active and vibrant way of life and fought against ruminative way. They were not interested in metaphysics, and cared about practical issues—moral, mental and social--in their lives. They were confident of human future and held undoubted faith in history progress.

刘永刚的艺术的独特之处，就在于其作品中的表现性，不是一般性的情绪化的表现，不只是我们通常认为的"跟着感觉走"，也不是技巧性的优雅表现，或是对现实问题的功利性的主题解释，后者来源于18世纪的法国及法国革命传统，即政治化、功利化的行动主义传统。18世纪的法国启蒙主义哲学家，像文艺复兴早期的公民人文者一样，崇尚积极活跃的生活，不赞成沉思默想的生活，对形而上学没有兴趣，关心此时此地的人生中的实际问题——道德的、心理的、社会的问题，他们对人类的前途充满了信心，对历史的进步具有毫不怀疑的信念。

The special thing about Liu's art is that his works are not expressions of general emotions (what is commonly known as 'follow the feelings'), or graceful skills, or utilitarian interpretations of practical questions the latter is originated from France in the 18th century and its revolutionary tradition, namely political and utilitarian behaviorism tradition. French didacticism philosophers in the 18th century, just like the early renaissant civic humanists, advocated active and vibrant way of life and fought against ruminative way. They were not interested in metaphysics, and cared about practical issues—moral, mental and social--in their lives. They were confident of human future and held undoubted faith in history progress.

刘永刚的艺术的独特之处，就在于其作品中的表现性，不是一般性的情绪化的表现，不只是我们通常认为的&跟着感觉走&，也不是技巧性的优雅表现，或是对现实问题的功利性的主题解释，后者来源于18世纪的法国及法国革命传统，即政治化、功利化的行动主义传统。18世纪的法国启蒙主义哲学家，像文艺复兴早期的公民人文者一样，崇尚积极活跃的生活，不赞成沉思默想的生活，对形而上学没有兴趣，关心此时此地的人生中的实际问题——道德的、心理的、社会的问题，他们对人类的前途充满了信心，对历史的进步具有毫不怀疑的信念。

There was, to be sure, in the Renaissance an uncanny and glittering reawakening of the classical ideal, of the noble mode of evaluating all things; Rome itself, oppressed by the new superimposed Judaized Rome that presented the aspect of an ecumenical synagogue and was called the "church," stirred like one awakened from seeming death: but Judea immediately triumphed again, thanks to that thoroughly plebeian ressentiment movement called the Reformation, and to that which was bound to arise from it, the restoration of the church—the restoration too of the ancient sepulchral repose of classical Rome.

的确，在文艺复兴时期，古典的理想、高贵的价值观念曾经历了光辉夺目的复苏。罗马就像一个假死苏醒的人一样在那座新建的犹太式罗马城的重压下面蠢动起来，那新罗马俨然是一座世界性的犹太教堂，它被称为&教会&。但是，很快地犹太教又一次获胜，这要归功于发生在德国和英国的运动，它被称为宗教改革，而实质上是平民的怨恨运动。伴随这场运动而来的是：教会的重振和古罗马再次被置于古老的墓穴安宁之中。

Castilla奥奈real painting and the vivid reflection of the politicians, diplomats and academics in the same image features: his black, sharp eyes and a calm, as if to see through all; he That reddish, tightly closed, outside velvet lips, showing his self-confidence, determination, resourcefulness and the rigorous and extremely good; slight tilt of his chin, and that dense,络腮胡be neat to show 16th-century Renaissance Italy unique style of scholars; that black hat, white shirt, gray-black fitted prime painted and reflect the idea was abandoned in the Su-loaded艳装to promote culture of the times.

卡斯蒂利奥奈》这幅作品真切而生动地反映了这位政治家、外交家兼学者于一身的形象特征：他那黑亮、锋利而又平和的眼神，好象能够看穿一切；他那微红、紧闭、外柔内刚的双唇，显示了他自信、果断、严谨和善辩的机巧；微微翘起的下巴，那浓密、整齐的络腮胡须，显示了意大利16世纪文艺复兴时期学者特有的风范；那黑色的礼帽，白色的衬衫，灰黑色的素装又反映了被画者在当时主张摒弃艳装提倡素装的时代风尚。

Indeed, between the forms of the leaf-covered monopode first encountered, and this monstrous leg, we recall iconic scenes of flight, common amongst grand Renaissance tableaux, one particularly good example being exemplified in Michelangelo's Last Judgement by the bottom right-hand section, which is known as the Boat of Charon—a fitting allusion because Charon was the boatman who delivered the damned into the mouth of hell from which they were presumably anxious to escape, hence the animated energy brought to their flight.

的确，在先前体验过的叶子覆盖着的独脚和这只巨腿的两种造型中，我们忆起典型的逃离场景构图，是文艺复兴艺术的大型静态画面中常见的，而米开朗琪罗的《最后的审判》右下角所谓&卡戎的冥河之船&那部分就是特别典型的代表范例；这个典故在此极为恰当，因为卡戎就是将被打入地狱的人送往阴府的船夫，他们自然急于逃跑，因此才有这些人物脱逃的激动镜头。

From the medle ages sculpture,we can see that people in that period take human sculptures merely as a decorative part of an achetecture;The Rassanance make people regained their natural inner strength,and people express their admiration to the heros,using the pose of human sculpture. The great master Rodin reach the peak in making the full use of human pose,as a way of artistic expression. While doing so. he turned the the development of sculpture into a new track-the way of expression itself. From then on,in the hands of some mordern sculptors,human pose and the distinctive personal expression ways of each sculptor and the matiral.

运动。均衡等理想美的追求；中世纪教堂人物雕塑姿势的僵直和微妙反映了当时雕塑成为建筑的依附以及教徒对上帝的态度；文艺复兴使人们找回自身的力量，对英雄的崇敬和力量的赞美通过人物雕塑充满生机的姿势体现出来；罗丹对人物姿势表现力的把握达到了一个高峰，同时他把雕塑引向了形式本身，在他以后的一些现代雕塑家手中，人物姿势和艺术家各具个性的艺术手法。

The labia have now been sutured together almost completely.The drains and the Foley catheter come out at the top.

此刻阴唇已经几乎完全的缝在一起了，排除多余淤血体液的管子和Foley导管从顶端冒出来。

To get the business done, I suggest we split the difference in price.

为了做成这笔生意，我建议我们在价格上大家各让一半。