没有情感的

Returns all to the pure age, this is unable the exchange which blocks and does not have the taboo emotion to divulge can as necessary the light annual ring impressively in item, the tide inundated the sand beach to track down your trail, love is once again needs to drive, even if were the little small success on opens your wing sufficiently; Do not let infiltrate bitterly and astringently the heart too for a long time, down to has lost the experience happy ability.

把一切都回归到纯真的年代，这无法遮拦的交流和没有禁忌的情感宣泄就会随时光的年轮赫然在目，曾经的潮水又一次漫过沙滩来追寻你的足迹，爱情是需要激励的，哪怕是一点点小小的成功就足以开启你的翅膀；不要让苦涩把心浸润太久，以至失去了体验幸福的能力。

In the middle school have some impression deeply of reading, at that time I was beginning bourgeon kinds of thinking, about novels are very clinging and devotion.

北京大学的未名湖至今都在我的脑子里回旋着，还有书中最后一个场景，悠扬的小提琴声响彻整个天空，带走了人的意志和所有的情感，此情此景，就像是电影的胶片，一幕一幕的慢慢的幻想和浮现，我常常惊讶于为什么《围城》都可以拍摄成影视作品，可是《穆斯林的葬礼》却没有这样的殊荣。

The 'arrival' of Sisyphus means that he has to employ 'pathetic fallacy' to personify the stone as signifying man's desire and mental burden – the stone lying at the roadside has been changed and elevated to a symbolic level, which incorporates the myth with heroic spirit and becomes the objective equivalent to that of desire, anxiety, and pressure. In essence, the physical features are drowned and from between to express the natural physical features or the ideas, he chooses the latter. This means that there is disjoint between what originally moved him and what he would like to express, but he is acutely aware of it – the 'danger of illustration'. We can see that these series of paintings are finally presented to us, the physical features of the objects still remains and are expressed to some extent. Among them some directly depict the stones in their own part about their pleats and points, desolateness and heaviness; at the meantime, nobody appears in the pictures.

西西弗斯的"到来"，意味着他不得不采用感情误置的方式，将石头进行拟人化的处理，用以指称人的欲望和精神负担——那块路边的石头已经不复它本来的面目，它被提升到一个象征的位置上，与神话和英雄的精神题旨迅速结合在一起，成为人性之中欲望、焦虑、压力等情感的客观对应物，从本质上来说，物自身的特性被淹没了，在表现物的自然特性和表现理念这两者之间，他选择了后者，这意味着，在感动他的最初事实与他要表现的事实之间就有了一种脱节，但他敏感地意识到了这种脱节，这种"图解的危险"，我们可以看到，当这组画最终呈现在我们面前的时候，物的自然特性得到了很大程度的挽留和表现，其中有一些画作直接描绘了岩石本身，它本身的褶皱和棱角、苍凉和沉重，同时，并没有人出现在这样的画面上。

It was like old times to me, like homely deja vu, to come across a street brawl not far from People's Square, the ceremonial centre of the city – one of those Mediterranean-style brawls that never come to anything either, but erupt and subside, flare and fade, break sporadically into fisticuffs and peter out in rude gestures to the disappointment of all observers, especially me.

她们演奏的是多情的爱尔兰传统音乐，弹奏手法娴熟。但当我站在那儿的时候，才意识到她们的诠释几乎都是程式化的节奏，不再是温柔的舒缓音调，也没有情感上的震撼，就好像她们被毫无感情的内心节拍器控制着一样。

The thesis analyzes specifically the importance of free psychology state in painting from the aspects of imagination, immanent resonance and its forms, and free unbosom of affections, by giving in-depth analysis on the factors of children's free painting and combining the practice of artists. The thesis points out that art works should be produced in an involuntary state with self-consciousness.

文章通过对儿童绘画的自由因素分析，并结合艺术家的实践经验，从想象、内在的共鸣与形式、内在因素情感的自由宣泄中，具体分析了这种没有羁绊的自由境界的重要性，指出艺术家作品的显现过程应该处在一种自觉中的非自觉状态中。

The people and objects floating through Gao Bo's works are without roots - perhaps they come from a momentary memory or a spark of interest. Looking at Gao Bo's works brings pictorial information stored deep in the mind to light, yet within a second these mind-images fade again, leaving behind a memory of all the images that lie underneath Gao Bo's warm and languid sketching. In Gao Bo's consciousness, these images don't stop at realism or simply exposit like some historical legend - in the end they reach towards the fringes of nothingness.These images can call up rich associations in our minds yet often these are false associations. For example, in "Gray Face" this is not the mystical dog of the god Erlang in Journey to the West; the rickety bridge in "River Bed" is certainly not a reference to a rainbow in Heaven; the story of "Contest" is not about two dogs running and pretending to be in love but a story of race dogs controlled by humans.

散漫在高波作品中的人与物没有根源，也许它们是源于个人瞬间的兴趣和记忆，有关知识的、情感的和在脑子里存储的图象信息随之而来，也可以随之而去，只是在温和缓慢的描绘背后还有一丝对所有形象匆匆停留过后的怀念，它们在高波的意识之中并不是一次停留于现实或者历史神话般司空见惯的陈述，它们的结果最终都是通向虚无的边缘，尽管那些形象似乎可以唤起我们丰富的联想，比如《灰色的脸》，它绝不是西游记中二郎神的天犬，在《河床》中不牢靠的拱桥，肯定不是寓指天堂里的彩虹，《竞赛》讲述的故事并不是两只在假装为爱情奔跑的狗，而是被人为所驱使的赛狗。

Sadly, most people in the world will never even admit that their past experiences are emotionally handicapping them in their present lives, and therefore will never have the opportunity to experience what I call "true emotional freedom".

因此也就没有机会去经验我所谓的&真正的情感自由&了（在我们国家因为从来不对孩子进行情感和婚姻方面的有关教育，我们很多人甚至连这方面的意识都没有，更遑论承不承认了，这也是为什么我国有很多破碎的婚姻和感情的重要原因：完全是因为教育缺位造成的——译者注）。什么是&情感自由&？

Among these schools are the tradition of practical reason extending from Aristotle through Kant to Habermas , which asserts that they can, and the tradition of emotivism , which maintains that they are merely expression_rs of emotions and have no rational content.

这些学派中一种是从亚里士多德开始，经康德再到哈贝马斯的实践理性传统——他们声称规范性陈述的理性论辩是可能的，还有一种是情绪主义传统——他们坚持认为那些仅仅是情感的表达而没有任何理性内容。

We can not image how trite the art is if there is no imagination, however, in the painting circle there are many "journeymen" who are creating works by copying photos, although their works are true and beautiful, yet their works are lack of attractive emotions and thoughts.

无法想象没有想象力的艺术是多么的平庸，然而在画界对着相片&临摹创作&的匠人却很多，很真实、很美，但缺少的是打动人的情感与思想。

The 'arrival' of Sisyphus means that he has to employ 'pathetic fallacy' to personify the stone as signifying man's desire and mental burden – the stone lying at the roadside has been changed and elevated to a symbolic level, which incorporates the myth with heroic spirit and becomes the objective equivalent to that of desire, anxiety, and pressure. In essence, the physical features are drowned and from between to express the natural physical features or the ideas, he chooses the latter. This means that there is disjoint between what originally moved him and what he would like to express, but he is acutely aware of it – the 'danger of illustration'. We can see that these series of paintings are finally presented to us, the physical features of the objects still remains and are expressed to some extent. Among them some directly depict the stones in their own part about their pleats and points, desolateness and heaviness; at the meantime, nobody appears in the pictures.

西西弗斯的&到来&，意味着他不得不采用感情误置的方式，将石头进行拟人化的处理，用以指称人的欲望和精神负担——那块路边的石头已经不复它本来的面目，它被提升到一个象征的位置上，与神话和英雄的精神题旨迅速结合在一起，成为人性之中欲望、焦虑、压力等情感的客观对应物，从本质上来说，物自身的特性被淹没了，在表现物的自然特性和表现理念这两者之间，他选择了后者，这意味着，在感动他的最初事实与他要表现的事实之间就有了一种脱节，但他敏感地意识到了这种脱节，这种&图解的危险&，我们可以看到，当这组画最终呈现在我们面前的时候，物的自然特性得到了很大程度的挽留和表现，其中有一些画作直接描绘了岩石本身，它本身的褶皱和棱角、苍凉和沉重，同时，并没有人出现在这样的画面上。

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。