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In Part IV he conceives a horror of the human race which is not apparent, or only intermittently apparent, in the earlier books, and changes into a sort of unreligious anchorite whose one desire is to live in some desolate spot where he can devote himself to meditating on the goodness of the Houyhnhnms.

部分IV他只间歇地设想不是明显的人种的恐怖,或者明显,在更加早期的书和变动入一个欲望是居住在某一落寞地方他可以致力于思考在Houyhnhnms的善良的一种无宗教带状闪长岩。

The same situation is on the problem of ectogenesis after man's death, which also face the same problems too. it will bring out the assault to the existing social family's structure, and the materialization of child, the violation of the individual's right to make his own decision, and the violation of " human nature dignity " principle, if the law allow to ectogensis after man's death .

同样的情形,在取后进人工生殖之问题探讨上,也面同样的问题,开放后人工生殖,也会对现有的社会家庭结构产生冲击,亦有是否为纯粹满足大人的欲望而将小孩子物化的隐忧,及进后人工生殖得过程中是否尊重个人「自主决定权」之使,有无违背「人性尊严」原则,,,等等问题。

As you fill the heart instead with the love of Terra and the love of the Tao, which the material objects can never accomplish, one will begin to find one's way to a non-attached state of being.

而当你取而代之以 Terra 的爱和道之爱来充盈你的心灵,你将不再去满足你的物质欲望,你将开始找到进入无连线状态的道路。

After the Renaissance, the newly revived inhabitants of Europe developed a burgeoning interest in collecting those ancient objects associated with the miracles and the unforgettable stories of the past. In 1580, the unlettered obelisk that stands in St. Peter's Square in the Vatican was dubbed the "Magnificent Feat".

文艺复兴后重新复苏的欧洲人,对古代文明许多奇迹和难以忘怀的故事,萌发收寻古物的强烈欲望,1580年,竖立安置在梵蒂冈圣皮埃尔广场著名的无字方尖碑被称之为壮举。19世纪,古典埃及方尖碑作为外交礼品耸立在巴黎、纽约和伦敦。

Deleuze and Guattari's idea of multiplicity provides an interpretive framework for such a study. It helps us more empathically understand the local subject's situation of becoming, like the body without organ, with which the architects are confronted.

德勒兹与瓜达理的复性思维提供一诠释架构,让我们更能体会建筑师们所面对的地方主体生成的无器官身体般的处境、与他们作品成为一催化地方欲望生产转向建构性连结机器的意图。

And the basic function that the woman already surmounted shoe to the choice of the shoe, jump rise to be mixed for ego advocate reveal, obtain self-confident, self-respect and cheerful always do not have the libidinal demand that stops.

而女人对鞋的选择已超越了鞋子的基本功能,跃升为自我宣扬和展示,获得自信、自尊与愉悦的永无止尽的欲望需求。

The subject cannot avoid the Other's desire by filling in the lack of the Other. This nonavoiding confrontation with the radical otherness of the Other causes anxiety within the subject and transposes him into his second position: the heterogeneous locus of the unconscious.

一旦主体不再用幻象来填补大它者的欲望之匮乏时,他便能够与彻底它异的大它者相遭逢,而这将使他进入到他自身的第二个位置:具有激进异质性的无意识之位置。

Human beings, since ancient times, have been keen on creating flying images, which not only reflects the human appetency of self-entertainment and the subconscious catharsis of collective unconsciousness of sex, but also reflects the ancient women's desire for freedom as a vulnerable group.

人类很久以来热衷于挖掘飞天的意象,体现了人类娱乐自我的欲望,是人类性爱集体无意识中某些潜意识宣泄,同时也体现出妇女作为古代社会的弱势群体对自由的渴望。

In this view, each human being is an array of appetites and aversions, continuously stimulated into existence by sensory events, and continually changing in character, so that there is no overall aim for human action over the course of a lifetime - no such thing as a summum bonum or "highest good", no condition of being that mankind tries to achieve in order to suit its nature.

从这个观点来看,人类是欲望和厌恶大拼盘,只凭藉感官上的持续刺激而存活,个性也不断转变,即在行为上一辈子都无贯彻到底的目标,也没有所谓的「至善」,更没所谓人类为迎合本性而试著去达到目标之说。

In this view, each human being is an array of appetites and aversions, continuously stimulated into existence by sensory events, and continually changing in character, so that there is no overall aim for human action over the course of a lifetime - no such thing as a summum bonum or "highest good", no condition of being that mankind tries to achieve in order to suit its nature.

从这个观点来看,人类是欲望和厌恶大拼盘,只凭借感官上的持续刺激而存活,个性也不断转变,即在行为上一辈子都无贯彻到底的目标,也没有所谓的「至善」,更没所谓人类为迎合本性而试着去达到目标之说。

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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.

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