柯根斯

The fury and cruelty of this battle is quite revealed in the figure's complexion and body, or we say that to create these faces and bodies, Yin retrospected the genealogy from Goya to Francis Bacon, including many expressionists, such as Van Gogh, Munck, Oskar Kokoschka. All these artists painted 'anxious people', their brush touches looked intense and sensitive, their paints gave a horrible sense of solidity. The faces and bodies they painted are distorted and twitched under the burden of mental nightmare, so the organs are deformed, or even blurred; in 'Myth', the mental nightmare is incarnated as a stone, a battle between man and stones. Therefore, the deformed and distorted bodies look more vivid, when man strives to raise up a stone, all his muscles and expression are in an intense condition.

这种搏斗的激烈与残酷也充分表露画中人的表情和肌体之中，不妨说，在对这些面孔和身躯的塑造中，尹朝阳回顾了一个从戈雅到弗朗西斯·培根的谱系，其中应该包括了众多的表现主义者们，例如凡高、蒙克、奥斯卡·科柯施卡，所有这些画家都绘制了&焦虑的人&，他们的笔触显得激烈而敏感，颜料有一种可怕的实体感，他们所绘制的人物面孔和身躯，都具有精神梦魇的重负之下引发出的扭曲和抽搐感，器官因此而变形，甚至模糊不清；在《神话》之中，精神梦魇具化成了石头，具化成了人与石头之间的搏斗，人体的扭曲和变形的理由因此来得更为具体，当人奋力地举起一块石头时，他全身的肌肉和表情都自然地处在极度紧张的状态之中。

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。