滑稽的

Disney Characters A timeline of character debuts Before Mickey 1924 Alice (of The Alice Comedies, a series of 56 silent cartoons) 1927 Oswald the Lucky Rabbit (star of 26 silent cartoons) Recurring Characters: Mickey and Friends 1928 Mickey Mouse and Minnie Mouse, in Steamboat Willie 1929 Peg-Leg Pete, in The Barn Dance 1929 Clarabelle Cow and Horace Horsecollar, in The Plow Boy 1930 Pluto (AKA "Rover"), in The Chain Gang 1932 Goofy (AKA "Dippy Dawg,""George Geef"), in Mickey's Revue 1934 Donald Fauntleroy Duck, in The Wise Little Hen 1937 Huey, Dewey, and Louie Duck, in the Donald Duck Sunday comics 1937 Daisy Duck (AKA "Donna Duck"), in Don Donald 1943 Chip 'n' Dale, in Private Pluto Stars of Disney Feature Films 1937 Snow White, in Snow White and the Seven Dwarfs 1940 Pinocchio and Jiminy Cricket, in Pinocchio 1941 Dumbo, in Dumbo 1942 Bambi, in Bambi 1950 Cinderella, in Cinderella 1951 Alice and the White Rabbit, in Alice in Wonderland 1953 Peter Pan and Tinkerbell, in Peter Pan 1955 Lady and Tramp, in Lady and the Tramp 1959 Aurora, in Sleeping Beauty 1961 Pongo, Perdita, and the pups, in 101 Dalmatians 1967 Mowgli and Baloo, in The Jungle Book 1974 Robin Hood and Maid Marian, in Robin Hood 1986 Basil, in The Great Mouse Detective 1989 Ariel, in The Little Mermaid 1991 Belle and Beast, in Beauty and the Beast 1992 Jasmine and Aladdin, in Aladdin 1994 Simba, Timon, and Pumbaa, in The Lion King 1995 Buzz Lightyear and Woody, in Toy Story 1995 Pocahontas, in Pocahontas 1996 Esmerelda, in The Hunchback of Notre Dame 1998 Hercules and Megara, in Hercules 1998 Mulan and Mushu, in Mulan 2001 Milo Thatch, in Atlantis: The Lost Empire 2001 Lilo and Stitch, in Lilo And Stitch 2002 Sulley, in Monsters, Inc.

狄斯耐人物一个个性初次登场的时间期限在米奇之前 1924 爱丽丝(爱丽丝喜剧，一系列的 56幅沈默的卡通) 1927 奥斯瓦德幸运的兔子(26幅沈默的卡通的星)回到个性：米奇和朋友 1928 米老鼠和米妮老鼠，在汽船威利 1929 钉-腿的彼得，在谷仓跳舞方面 1929 Clarabelle 母牛和贺瑞斯 Horsecollar，在犁男孩中 1930 冥王星，在链组织中 1932 古菲(AKA"脑筋不正常的 Dawg，""乔治 Geef")，在米奇的讽刺时事的滑稽剧 1934 唐纳德 Fauntleroy 鸭子，在明智的小母鸡中 1937 Huey ，杜威和中尉鸭子，在唐纳德鸭子星期日连环图画中 1937 黛西没入水中(AKA"堂娜鸭子")，在君唐纳德 1943 削'n'山谷，在私人的冥王星狄斯耐特征电影的星 1937 下雪水于白色，在雪白色的和七个矮子 1940 童话中的主角和表示温和的惊讶蟋蟀，在童话中的主角 1941 Dumbo，在 Dumbo 1942 Bambi，在 Bambi 1950 灰姑娘，在灰姑娘 1951 爱丽丝和白色的兔子，在奇境的爱丽丝 1953 彼得平锅和 Tinkerbell，在彼得平锅 1955 淑女和重步声，在淑女和重步声中 1959 奥罗拉，在睡着的美人 1961 在 101只大麦町中的 Pongo ， Perdita，和学生 1967 Mowgli 和 Baloo，在丛林中订购 1974 罗宾头巾和少女圣母玛利亚崇拜者，在罗宾头巾 1986 罗勒，在伟大的老鼠侦探中 1989 瞪羚，在小的美人鱼中 1991 美女和畜牲，在美人和畜牲中 1992 茉莉属植物和安拉丁，在安拉丁 1994 Simba ， Timon 和 Pumbaa，在狮子星国王中 1995 发出嗡嗡声 Lightyear 和多树木的，在供玩耍的故事中 1995 风中奇缘，在风中奇缘 1996 Esmerelda，在 Notre 夫人的驼背中 1998 大力英雄和 Megara，在大力英雄 1998 Mulan 和 Mushu，在 Mulan 2001 Milo 盖屋顶的材料，在阿特兰提斯：失去的帝国 2001 Lilo 和一针，在 Lilo 和一针 2002 Sulley，在怪物，公司 2003 奈莫舰长，在发现奈莫舰长方面 2004 幼鲑，在难以置信人中

The first part states in a comprehensive way the research on Zhou Zuoren so as to define the purpose, methodology and significance of the dissertation. The second part analyzes the experience of Zhou's self-culture creation from a personal angle-Yue culture in Zhejiang gave Zhou a perceptual knowledge of folklore, while the idea of world folklore gave him a rational cognition of folk' culture. The combination forms a dual folklore. The third part observes Zhou Zuoren's examination of literarure from folklore's perspective as well as its pioneering significance. The fourth part explores in a further way Zhou's perspective of folk culture, and analyzes the method he has established to conduct literary criticism from the angle of folklore as well as his research on Chinese Culture. The fifth part analyzes the impacts folklore theory and folk culture have on the formation of Zhou' literary ideas, focusing more his folklore interpretation and humanism perspective about the origin and hist ory of literature, also his literary aesthetic standards about "ordinary humanism" and "loving amusement" from the position of folklore. The sixth part expounds Zhou's achievement in combining literature and folklore and explores the consistency of their focus on human, thereby presenting a complete picture of Zhou's literature. The last part generalizes the revelation drawing from the research done in this dissertation.

本文分为六章：第一章综述周作人研究的历史与现状，从而确定本文的研究目的、方法及意义；第二章从社会、时代背景、区域文化传统和个人文化选择的角度，阐释周作人选取民俗学视角观照文学的原因，侧重分析周作人自我文化建构的心路历程——浙江越文化传统的浸润给周作人以民俗学的感性认识，而世界民俗学的理念赋予他注重民间文化的理性精神；第三章考察周作人的民俗学研究及先锋意义；第四章进一步探讨周作人的民俗文化观，分析他确立的从民俗文化角度进行文学批评的方法，兼及他从民俗学视角进行的中国文化研究；第五章分析民俗学理论及民俗文化观在周作人文学思想生成中的影响，着重论述周作人关于文学起源和文学发展史的民俗学阐释、文学的民俗人性观，以及从民间立场出发所具有的"平凡的人道"、"有情的滑稽"等文学审美原则；第六章从创作实践方面，探讨周作人文学作品的民俗文化意蕴，进一步论述周作人将文学与民俗结合在一起的实绩，并揭示二者以"人"为核心的内在精神的一致性，从而呈现出周作人较为完整的文学风貌；最后是余论，指出这一研究的启示。

The shoes also had a two-tone effect, and the swell of celestial voices in David Motion's "Buoyancy" on the soundtrack underscored the twisted religiosity. The bi-collar was a foretaste of what can only be described as a male bikini, which combined a bib front with what appeared to be a visible jockstrap (or maybe male garter belt?) and closed at the back like a waistcoat. Wags instantly dubbed the look "wedgie chic," but it was more disturbing than that—as if traditional concepts of masculinity had been turned inside out. Of course, this is something Miuccia's talked about for years, but it was still striking to see it rendered so graphically. Even more so when a couple of back-buttoning blouses walked past—male vulnerability wrapped up in a shirt.

这是本季男装戏谑趣味又颠覆传统的其一；仿似神职人员的double小领结及以两种色调呈现的皮鞋、再搭上伦敦著名作曲配乐家David Motion综合了圣乐与电子节拍的秀场主题曲"Buoyancy"，成功的带出Miuccia意欲传递给大家的矛盾和滑稽；更夸张傻眼的紧接而来：儿童使用的围兜（也很像中国古代女人的性感肚兜）配上男运动员专用的弹性下体护身、穿在合身的双领衬衫外，就活像是男性比基尼的外穿，然后转过身来，我们更看到，肚兜上衣的背后或交叉缕空的有如女人的性感马甲、或呈排扣有如女性内衣。

I'm talking about something more substantial. It's the hope of slaves sitting around a fire singing freedom songs; the hope of immigrants setting out for distant shores; the hope of a young naval lieutenant bravely patrolling the Mekong Delta; the hope of a millworker's son who dares to defy the odds; the hope of a skinny kid with a funny name who believes that America has a place for him, too.Hope — Hope in the face of difficulty.

我在谈奴隶们围坐在篝火旁唱颂自由的歌谣时的希望；我在谈移民背井离乡驶向遥远海岸时的希望；我在谈年轻的海军上尉勇敢地在湄公河三角洲巡逻时的希望；我在谈一个纺织工的儿子敢创敢拼时的希望；我在谈一个有着滑稽名字的、干瘦的小孩也相信美国也会有一片属于他的天地时的希望。

It's the hope of slaves sitting around a fire singing freedom songs; the hope of immigrants setting out for distant shores; the hope of a young naval lieutenant bravely patrolling the Mekong Delta; the hope of a millworker's son who dares to defy the odds; the hope of a skinny kid with a funny name who believes that America has a place for him, too.

我在谈奴隶们围坐在篝火旁唱颂自由的歌谣时的希望；我在谈移民背井离乡驶向遥远海岸时的希望；我在谈年轻的海军上尉勇敢地在湄公河三角洲巡逻时的希望；我在谈一个纺织工的儿子敢创敢拼时的希望；我在谈一个有着滑稽名字的、干瘦的小孩也相信美国也会有一片属于他的天地时的希望。

Therapontigonus Miles could walk arm in arm with Vadeboncoeur the grenadier, Damasippus the second-hand dealer would be happy among bric-a-brac merchants, Vincennes could grasp Socrates in its fist as just as Agora could imprison Diderot, Grimod de la Reyniere discovered larded roast beef, as Curtillus invented roast hedgehog, we see the trapeze which figures in Plautus reappear under the vault of the Arc of l'Etoile, the sword-eater of Poecilus encountered by Apuleius is a sword-swallower on the PontNeuf, the nephew of Rameau and Curculio the parasite make a pair, Ergasilus could get himself presented to Cambaceres by d'Aigrefeuille; the four dandies of Rome: Alcesimarchus, Phoedromus, Diabolus, and Argyrippus, descend from Courtille in Labatut's posting-chaise; Aulus Gellius would halt no longer in front of Congrio than would Charles Nodier in front of Punchinello; Marto is not a tigress, but Pardalisca was not a dragon; Pantolabus the wag jeers in the Cafe Anglais at Nomentanus the fast liver, Hermogenus is a tenor in the Champs-Elysees, and round him, Thracius the beggar, clad like Bobeche, takes up a collection; the bore who stops you by the button of your coat in the Tuileries makes you repeat after a lapse of two thousand years Thesprion's apostrophe: Quis properantem me prehendit pallio?

米勒会挽着侍卫华德朋克尔的胳膊，达马西普会在旧货店里流连忘返，万森刺杀苏格拉底正如阿戈拉囚禁狄德罗，格利木·德·拉雷尼埃尔会做油脂牛排正如古尔第吕斯发明烤刺猬。我们见到普劳图斯著作中的高架秋千重现在明星门的气球下面，阿普列乌斯在普西勒遇见的吞剑人便是新桥上的吞刀人，拉穆的侄儿和寄生虫古尔古里翁是一对，埃尔加齐尔请爱格尔弗依把他介绍给康巴色勒斯，罗马的四个纨袴子弟阿尔色西马尔古斯、费德洛木斯、狄阿波吕斯和阿尔吉里帕乘着拉巴突的邮车从拉古尔第①出发，奥吕·热尔在孔格利奥面前没有比查理·诺缔埃在波里希内儿面前待得更长久，马尔东不是母老虎，但是巴尔达里斯卡也绝不是一条龙，滑稽人潘多拉布斯在英格兰咖啡馆里嘲弄享乐人诺曼达纽斯，埃尔摩仁是爱丽舍广场的男高音，并且在他周围有无赖特拉西乌斯扮成波白什②向人募捐，在杜伊勒里广场上掐住你的衣扣、不让你走的那个讨厌人让你在两千年以后还重复着忒斯卜利翁的那句话：&在我有急事时谁突然抓住了我的衣襟？&

As an old woman chosen from the countryside by cao xue qin,grandmother liu came to masion jia to try her luck, to get pretty advantages at expense of other people, people thought she was vulgar, ridiculous and ignorant,thought she came here with country folks fun to scrounge, treated her just for the fun. All that impressions she gave us just because she lived under such a huge differences between rich and poor, without other choice, life decided her action. Her action was ludicrous and laughable, also, pathetic. It was a tragedy of all the peasants. For liu, only through humiliating herself to seek advantage, so that could go on the hard life.however, she faced her status squarely, and gained happiness from her own simple feature. Plus the process of resuing qiao jie, all the fact made a clever, cautious, humourous and kind grandmother, a good at social communications, active and optimistic grandmother.

刘姥姥是《红楼梦》中一个小人物，她是曹雪芹从乡下选上的一位贫穷的老太婆，她来贾府是为碰碰运气，讨点油水，贾府人觉得刘姥姥粗俗、可笑、无知，是来讨钱的，带有乡下人的野趣，都拿她取乐，她给别人的这些印象是因为她穿梭于巨大贫富差距之中，没有别的选择，生活使她扮演这样的角色，她的表演真是滑稽可笑，但又是可悲的，是所有贫苦农民的悲剧，她只有这样的作贱自己才能得到点恩惠，维持他们艰难的度日，但刘姥姥能正视自己的身份地位，并从自己的乡土味中寻找欢笑，再通过她救巧儿的事实，不难看出，刘姥姥既聪慧又淳朴，既谨慎又幽默，既善良又精通人情世故，是一位积极向上乐观的老人。

As an old woman chosen from the countryside by cao xue qin,grandmother liu came to masion jia to try her luck, to get pretty advantages at expense of other people, people thought she was vulgar, ridiculous and ignorant,thought she came here with country folks fun to scrounge, treated her just for the fun. All that impressions she gave us just because she lived under such a huge differences between rich and poor, without other choice, life decided her action. Her action was ludicrous and laughable, also, pathetic. It was a tragedy of all the peasants. For liu, only through humiliating herself to seek advantage, so that could go on the hard life.however, she faced her status squarely, and gained happiness from her own simple feature. Plus the process of resuing qiao jie, all the fact made a clever, cautious, humourous and kind grandmother, a good at social communications, active and optimistic grandmother.

刘姥姥是《红楼梦》中1个小人物，她是曹雪芹从乡下选上的1位贫穷的老太婆，她来贾府是为碰碰运气，讨点油水，贾府人觉得刘姥姥粗俗、可笑、无知，是来讨钱的，带有乡下人的野趣，都拿她取乐，她给别人的这些印象是因为她穿梭于巨大贫富差距之中，没有别的选择，生活使她扮演这样的角色，她的表演真是滑稽可笑，但又是可悲的，是所有贫苦农民的悲剧，她只有这样的作贱自己才能得到点恩惠，维持他们艰难的度日，但刘姥姥能正视自己的身份地位，并从自己的乡土味中寻找欢笑，再通过她救巧儿的事实，不难看出，刘姥姥既聪慧又淳朴，既谨慎又幽默，既善良又精通人情世故，是1位积极向上乐观的老人。

The shoes also had a two-tone effect, and the swell of celestial voices in David Motion's "Buoyancy" on the soundtrack underscored the twisted religiosity. The bi-collar was a foretaste of what can only be described as a male bikini, which combined a bib front with what appeared to be a visible jockstrap (or maybe male garter belt?) and closed at the back like a waistcoat. Wags instantly dubbed the look "wedgie chic," but it was more disturbing than that—as if traditional concepts of masculinity had been turned inside out. Of course, this is something Miuccia's talked about for years, but it was still striking to see it rendered so graphically. Even more so when a couple of back-buttoning blouses walked past—male vulnerability wrapped up in a shirt.

这是本季男装戏谑趣味又颠覆传统的其一；仿似神职人员的double小领结及以两种色调呈现的皮鞋、再搭上伦敦著名作曲配乐家David Motion综合了圣乐与电子节拍的秀场主题曲&Buoyancy&，成功的带出Miuccia意欲传递给大家的矛盾和滑稽；更夸张傻眼的紧接而来：儿童使用的围兜（也很像中国古代女人的性感肚兜）配上男运动员专用的弹性下体护身、穿在合身的双领衬衫外，就活像是男性比基尼的外穿，然后转过身来，我们更看到，肚兜上衣的背后或交叉缕空的有如女人的性感马甲、或呈排扣有如女性内衣。

In this thesis, the comic art of David Ives, one of the most famous contemporary American playwrights, is looked into with reference to the development of comedy and universal comic devices, and a comparison and contrast between Ives" artistic creation and Chinese comedies is made in a hope that Ives" one-act plays may be of use for reference to Chinese comic drama. The thesis concludes that Ives can be of advice to Chinese playwrights in their understanding of the nature of comedy as an artistic genre and their selection and treatment of the subject matters in their comedies.

本文以喜剧作为一种话剧类型的发展变化为大环境，介绍了当代美国最负盛名的喜剧作家之一的David Ives及其最受欢迎的几部作品；依据喜剧令人感到滑稽，容易发笑的机制，分析了喜剧创作中常用的幽默设计，笑料制造的手法；在Ives的几个代表独幕剧剧作的基础上探讨了其喜剧艺术，并将此与中国大陆的喜剧创作进行比较对照，以期国内的喜剧作家们能从中受到某些启发，最终对中国喜剧创作的繁荣和进展起一定的借鉴作用。

Lugalbanda was a god and shepherd king of Uruk where he was worshipped for over a thousand years.

Lugalbanda 是神和被崇拜了一千年多 Uruk古埃及喜克索王朝国王。

I am coming just now,' and went on perfuming himself with Hunut, then he came and sat.

我来只是现在，'歼灭战perfuming自己与胡努特，那麼，他来到和SAT 。