旧思想的

Steve Harley and Cockney Rebel - Sebastian Radiate simply, the candle is burning So low for me Generate me limply, I can't seem to place Your name, cherie To rearrange all these thoughts In a moment is suicide Come to a strange place, we'll talk over Old times we never spied Somebody called me sebastian Somebody called me sebastian Work out a rhyme, toss me the time, lay me, You're mine And we all know, oh yeah! Your persian eye sparkle; your lips, ruby blue Don't speak a sound You, oh so gay, with parisian demands, You can run-around And your view of society screws up my mind Like you'll never know Lead me away, come inside, See my mind in kaleidoscope Somebody called me sebastian Somebody called me sebastian Love me sublime, mangle my mind, do it in style, So we all know, oh yeah! You're not gonna run, babe, We only just begun, babe, to compromise Slagged in a bowery saloon, Love's a story we'll serialise Pale angel face; green eye-shadow, The glitter is outasite No courtesan could begin to decipher Your beam of light Somebody called me sebastian Somebody called me sebastian Dance on my heart, laugh, Swoop and dart, la-di-di-da Now we all know you, yeah!

发光，蜡烛在燃烧很微弱让我四肢无力，我不能就这样任命你的名字，cherie 重整一切思想在某瞬间是自杀来到一个陌生的地方，我们将谈论从未发现的旧时光有人叫我sebastian 有人叫我sebastian 唱出心中的话，给我时间，平息我你是我的我们都知道，欧耶你波斯般的眼镜在闪烁，你的嘴唇如忧郁的红宝石别发任何声音你有巴黎人的需求如此快乐你有借口你对友伴的看法振作了我仿佛你从不知道带我离开，来到内心用万花筒来看我的心有人叫我sebastian 有人叫我sebastian 狠狠爱我，独具风格的撕裂我的心我们都知道，欧耶你不会走的，孩子我们才开始妥协在树荫下的酒吧里成为熔渣爱是我们将要连载的故事苍白的天使的脸和充满活力的眼影闪光在（outasite不知这词）没有情妇可以解释你那一束光有人叫我sebastian 有人叫我sebastian 在我心中跳舞，欢笑飞奔，啦嘀嘀嗒现在我们都知道你，欧耶（都不知道自己在翻什么，准备下来听听。。。。

In just three months, the government has stripped the monarch of many of his powers and constitutional prerogatives (although this falls short of the Maoist demand for an absolute republic), scrapped the old national anthem, declared 33 per cent of positions in the civil services are to be reserved for women and "eliminated untouchability" from Nepal, a predominantly orthodox Hindu society.

仅仅在三个月之内，政府就剥夺了国王自身的很多权力以及宪法赋予的一些权力(虽然这与毛泽东思想分子所要求的完全的共和有很大落差)，废除了旧国歌，宣布为妇女保留三分之一的公务员职位并且取消了"最底阶层不得随意触碰其他物品"这个在尼泊尔印度教社会中极端重要的规则。

It is like a rainstorm that uproots the traditional modes of thought and brings life to the diversified industries , transforming the traditional industries and washing away the deep-rooted but outdated thoughts .

并且指出这些事实和现象的背后是更深一层的思想形态的变革，是旧的思维模式的破碎和新的模式的确立。

This dissertation has 7 chapters. Chapter One introduces the tradition of historical narration in Chinese literature, discusses the relationship between fiction and historical narration, and the historical view of humanism in traditional novels. Chapter Two analyzes the historical view in contemporary red narrative, the origin of red historical compilation, hypo-realism in red novels of officers, and the features of taking personal narrative as revolutionary narrative etc. the song of youth is taken as an example to illustrate the secret of changing little burgesses narrative into revolutionary narrative. Chapter Three focuses on re-emergence and changes of enlightenment historical narrative and the historical sense of enlightenment. Tibet, implied times and the family of red corn are taken as examples to illustrate the features of changing from enlightenment historicism to new historicism. Chapter Four examines the phenomena and characteristics of new historicism narrative. The following chapter concerns the historical narrative by Yu Hua and Mo Yan, and historical sense of quasi-new historicism in Wang Anyi's Changhenge.

正文共分七章，第一章是对&中国文学中的历史叙事传统&的追溯：探讨了中国文学中&小说&这一文类与&历史叙事&之间的渊源关系，传统小说中的人本主义与生命本体论的历史观、其悲剧本质的历史诗学与美学理念、其循环论与非主流的历史伦理：第二章是对&当代红色叙事中的历史观&的分析：探讨了其&红色历史编纂学&的由来，红色官史小说中的&伪现实主义&、&把个人叙事装饰为革命叙事&的特点、其&革命&外表下装裹着的&旧式&的叙事模型等等，还以《青春之歌》为例分析了由小布尔乔亚叙事改装为革命叙事的奥秘：第三章是对&启蒙历史叙事的重现与转型&的梳理：分析了寻根文学中所包含的启蒙历史主义意识一一从最早的民俗学趣味、到寻根诗歌中&文化民族主义&的突然高涨、还有寻根小说中所包含的各种新型的历史思想，还以稍后的扎西达娃的《西藏，隐秘岁月》和莫言的《红高粱家族》为例，探讨了其由启蒙历史主义向新历史主义过渡的特点：第四章是对&新历史主义叙事的现象与特征&的分析，先是梳理了新历史主义文学思潮从八十年代后期到九十年代末期所出现的大量现象和演变的轨迹，而后分析了各种类型的新历史主义叙事的特征，其基本尺度、还有&新&与&旧&的关系等等；此后第五、六、七章分别就余华和莫言的历史叙事、还有王安忆的《长恨歌》中的类似新历史主义的历史意识进行了分析。

The Paris Commune was a first great attempt to scale the heights of human emancipation, and it was a harbinger of the future, but it lacked the necessary leadership and was not guided by the necessary scientific understanding to be able to withstand the inevitable counter-revolutionary onslaughts of the forces of the old order and then to carry out a thoroughgoing transformation of society, in all spheres: economic, social, political, cultural, and ideological.

巴黎公社是人类第一次尝试去丈量人类解放的高度，它也是人类对未来的一个预示，但是它缺乏必要的领导，也没有得到必要的科学指导以便抵御旧秩序不可避免的反革命冲击，从而在社会的各个领域：经济、社会、政治、文化和思想里进行彻底的变革。

For since my tenderest childhood I have been reared in the beliefs of this Church; I imbibed them with my mother's milk; I have grown up and grown old while remaining attached to them; never to my knowledge have I swerved therefrom a hair's-breadth in thought, action or word, and I am still firmly decided to keep this faith until my last breath and to appear with it before the judgment-seat of God.

tenderest以来，我的童年我一直饲养的信仰，这教会我吸胀他们与我的母亲的奶，我已长大成长，旧的，而其余的重视；从未据我所知，我swerved由此一hair's -广度，在思想，行动或Word ，我仍然坚定地决定保留这个信念，直到我最后一口气，并出现与前判决议席上帝。

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。