无重量感

Contact found in 80 works will impose upon space and the norm of thinking seems to exist faults and barriers, ahead of fashion conscious consumers continue to derive more imaginative ideas to make their work a kind of weightlessness a sense of unconscious, self-desire expansion and to meet the Gengrang has become such a vague sense of, when hidden, at times, a lot of 80, after describing himself as an artist is not weight of objects, flying freely in the air, floating, this subjective state of consciousness driven by the description of means that the objective mental states, disorders and emptiness, extreme inflation and a good self-concept of a serious departure from the idealism and sense of reality, greatly outstrips reality, a feeling based on fantasy or fantasy thinking.

在我们接触的作品中会无形中发现80后的思维空间与常态似乎存在着断层和隔阂，超前时尚的消费意识不断派生出更有想象力的观念使他们的作品有种无意识的失重感，自我欲望的膨胀和满足更让这样的意识变得虚无飘渺、时隐时现，很多80后艺术家将自己描述成没有重量的物体，在空中自由自在的飞行、飘浮，这种主观意识状态驱使下的描述，意味着客观精神状态的失常和空虚，极度膨胀和自我良好的唯心意识观严重背离了现实，凌驾于现实之上的感觉建立在空想或幻想的思维中。

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。