时代

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。

Japan take the Chinese feudalism law as the pattern law system legal framework to the modern Western Europe law pattern transformation, is the Japan legal framework first transformation, after World War II Japan abolishes the Fascist legal regime under the American law influence, through the democratized reform, the revision multitudinous department law, the social economic rules and regulations receives especially takes highly, is the Japan legal framework second transformation, along with the time vicissitude, the original legal framework occurrence"the system is weary", complied with the marketability, the informationization, an advanced age isochronism generation of tidal current, the legal framework has the omni-directional transformation is the Japan legal framework third transformation.

日本以中国封建法律为模式的律令制法律体系向近代西欧法律模式的转变，是日本法律体系的第一次转换，二战后日本在美国法影响下废除法西斯法律制度，通过民主化改革，修改众多部门法，尤其社会经济法受到高度重视，是日本法律体系的第二次转换，随着时代变迁，原有法律体系发生"制度疲劳"，顺应市场化、信息化、高龄化等时代潮流，法律体系发生全方位转变是日本法律体系的第三次转换。

The isomorphism was also researched in understanding p-rinciples of different subjects.

事实上，我们正在从分析的时代迈向系统综合的时代。

In the history of American journalism the Penny Press era was preceded by the Jacksonian era, one that is known for its highly partisan and political newspapers.

在美国新闻业的历史上，便士报纸时代出现在杰克逊时代之后。

Following this context and along different viewpoints of personality-character arrangement and music interpretation for love and death, this research is trying to explore: firstly, comparing the characters of Jago Otello and Desdemona separately in original text with them in opera text, the specific aesthetic viewpoints of conflict and evil in nineteenth century would in this way be clarified. Hence, basing on the ending of the act IV in the opera, the representation of different viewpoints of death in nineteenth century from that in the era of Shakespeare will be musically interpreted.

对此，本研究没要从人物性格的设计以及音乐里如例诠释爱与死的看法两方面进行探讨：首先比较原著与歌剧文本在Jago、Otello、Desdemona三人情格刻划方面的差异，藉此突显属於十九世纪时代的对立冲突性以及恶的美学观；尔后，再以歌剧中第四幕的结束场景为出发点，探究音乐手法如何同样地反映出十九世纪有别於莎士比亚时代的死亡观。

In this essay i argue that the writing of american jazz age novelist f .

本文认为，美国爵士时代的小说家菲茨杰拉德的作品对于作者所处时代和处于发展之中的民族文化(即区域边缘与国家霸权之间的演进关系)作出了回应。

And it is highday the magazine captured the era, the jazz age, the birth of modernism, the avant-garde.

这是杂志记录时代的节日，包括爵士乐时代、现代主义先锋派的诞生。

American novels depicting the 1920s spirit of the people of the state, known as the "Jazz Age" in the annals works therefore, he is also known as the Jazz Age "Chronicle" and "the poet laureate."

小说描绘了美国20世纪20年代民众的精神状态，被誉为"爵士乐时代"的编年史作品，他自己也因此被称为爵士乐时代的"编年史家"和"桂冠诗人"。

In America, claim joinder arises out of the rules governing joinder of claims in common law and equity law, and develops to the present Federation Rules of Civil Procedure through the times of common law and Field code.

美国民事诉讼请求合并起源于普通法和衡平法中的合并规则，经过普通法时代、菲尔德法典时代，发展到现行《联邦民事诉讼规则》中的诉讼合并制度。

In West Jutland one may go back in thought to old times, farther back than the days when Christian VII ruled.

在这个地方人们很可能以为回到了远古时代里去——比克利斯蒂安七世统治的时代还要远。

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。