欲望

The mankind since birth day case, as strong as a kind desire is accrete, this kind of desire is pair of light and happy pursuit.

人类自从诞生之日起，便与一种强烈的欲望共生，这种欲望便是对光明和幸福的追求。

We have desires, but the desire to have all of us, we are happy with automatic acquiescence to it?

我们有欲望，但是欲望有我们所有人，我们乐于俯首称臣呢？

When did it all begin, this urge to do it now, to get it over with, to skim the surface of life?

现在就干的欲望，立刻干完的欲望，对待生活浮光掠影的欲望，这一切都是从什么时候开始的？

Tiening finds that women have been in the affiliated position in the man-in-center society. The regulations of spiritual fetters of wifely submission and virtue imposed on women in feudal society have been controlled the Chinese women just like incantation of Golden-Hoop. Being regarded as affiliated things and second races, women have been living in the mirror besieged city of men"s appetite. They are regarded as either for pets to be seen or tools to be let off men"s appetite.

铁凝发现了男权中心社会"三从四德"的规范象紧箍咒一样紧紧地束缚在广大中国女性的头上，女人作为男人的附属物一直生活在男人的欲望镜城之中，她们或是被当作观赏的尤物，或是被当作发泄欲望的工具，她们不是作为有着独立个体生命价值的人，而是作为一个物而存在于男性的欲望围城之中。

But that determination by which righteness, sensual desire and wealth are motivated by attachment to fruitive desires, O Arjuna, is in the nature of passion.

但是，阿诸那啊，由于依附于利益欲望而激发起对宗教，感官欲望和财富的追求，这样的决心就是处于欲望情感的品性中。

It is argued that the interplay of lack and excess in Pai Hsien-yung results in a metonymical narrative of desire in which relations of the subject and the object can never be reciprocal and thus are destined to be reenacted in an endlessly renewable cycle of appetite and anxiety in the storytelling process.

二者之间的吊诡关系正说明了白先勇的欲望叙事建基於主体与客体的永远无法交融，只能是一波推向一波的欲望徵逐，一个永无止尽及无偿的循环。这欲望的徵逐循环在白先勇不但是个主题，更是促生整个叙事活动的原动力。它不但决定了叙事发展的模式，也启动了每次书写的开端。

The lateness of the hour, rendering procrastinatory: the obscurity of the night, rendering invisible: the uncertainty of thoroughfares, rendering perilous: the necessity for repose, obviating movement: the proximity of an occupied bed, obviating research: the anticipation of warmth tempered with coolness, obviating desire and rendering desirable: the statue of Narcissus, sound without echo, desired desire.

621时间迟晏，使人犹豫拖延；夜间太黑，遮住视线；大街上不安定，充满危险；休息的需要，阻碍了行动；睡着人的床就近在咫尺，用不着去寻觅；对那被的冰凉缓解了的温暖的期待，排除了某种欲望，又挑起另一种欲望；纳希素斯的雕像，没有&回音&的音响，渴求的欲望。

They don't know that dreams and desires are endless way and abysses that may bring countless worry, pain and regret to them. Without assistance of knowledge, desire is a kitty that makes no trouble. Petty desires instead are impulsions of mankind to survive.

殊不知，梦想及欲望是一条不归路，是一个会给自己带来无穷烦恼、痛苦、悔恨的深渊，在缺乏知识的帮助下，欲望只不过是一只小猫，它尚不能惹出什么麻烦；小欲望反而是人类生存的推动力，它是正面的，是具有着一定的价值的。

They don't know that dreams and desires are endless way and abysses that may bring countless worry, pain and regret to them. Without assistance of knowledge, desire is a kitty that makes no trouble. Petty desires instead are impulsions of mankind to survive.

殊不知，梦想及欲望是一条不归路，是一个会给自己带来无穷烦恼、痛苦、悔恨的深渊，在缺乏知识的帮助下，欲望只不过是一只小猫，它尚不能惹出什麼麻烦；而小欲望反而是人类生存的推动力，它是正面的，是具有著一定的价值的。

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。

Neither the killing of Mr Zarqawi nor any breakthrough on the political front will stop the insurgency and the fratricidal murders in their tracks.

在对危险的南部地区访问时，他斥责什叶派民兵领导人对中央集权的挑衅行为。

In fact,I've got him on the satellite mobile right now.

实际上 我们已接通卫星可视电话了