田野的

The faint silvery warblings heard over the partially bare and moist fields from the bluebird, the song sparrow,and the red-wing, as if the last flakes of winter tinkled as they fell!

最初听到很微弱的银色的啁啾之声传过了一部分还光秃秃的，润湿的田野，那是发自青鸟、篱雀和红翼鸫的，仿佛冬天的最后的雪花在叮当地飘落！

Men come tamely home at night only from the next field or street, where their household echoes haunt, and their life pines because it breathes its own breath over again; their shadows, morning and evening, reach farther than their daily steps.

人们总是那么温顺地夜里归家，只是从那隔壁的田野或街道。家里永远回响着一样的声音，他们的生活异常痛苦，因为一次又一次呼吸自己的呼吸；早晨和傍晚，连他们的影子都到达了比脚步所促及的更远的地方。

Were dead, the whole race of them, and these their skeletons were as dust under my feet. Naturesets no value upon life neither of minute hill-snail nor of human being.should note the first zee-zee of the Titlark—that I should pronounce it summer, because nowthe oaks were green; I must not miss a day nor an hour in the fields lest something shouldescape me.

我以为自己对最早抽发的枝叶和草地上头一批萌芽的玉凤花都很重要——我对它们是如此重要，因此我应该记下山雀的第一声叽啾，——我应该宣布夏天的到来，因为橡树转青；我一定不得遗漏田野上一天或一个时辰的变化，唯恐有什么东西逃过我的眼睛。

Behind him the hills are open, the sun blazes down upon fields so large as to give an unenclosed character to the landscape, the lanes are white, the hedges low and plashed, the atmosphere colourless.

在他的身后，山峦尽收眼底，太阳照耀着广阔的田野，为那片风景增添了气势恢弘的特点，小路是白色的，低矮的树篱的枝条纠结在一起，大气也是清澈透明的。

I am a poor wayfaring stranger Travelling through this world of woe There is no sickness, toil or danger In that fairy land to which I go I'm going home To see my mother I'm going home No more to roam I am just going over Jordan I am just going over home I know dark clouds will hover on me, I know my pathway is rough and steep Beauteous fields lie right before me Where weary eyes no more will weep I'm going home to see my father I'm going home no more to roam I am just going over Jordan I am just going over home I'll soon be free from earthy trial This form shall rest beneath the sun I'll drop the cross of self-denial ?

我是个可怜的陌生旅客穿行在这个悲苦的世界朝着那一片光明的天地那里没有疾病、痛苦和危机我要去看看我的父亲我要去那里不再流浪我只想要回到约旦我只想要回到家乡是的，我想我知道乌云会将我包围我知道前路会艰辛险峻但是美丽的田野就在眼前上帝在那里忠实地守护我要去看看我的母亲她说会在我到来的时候与我相会我只想要回到约旦我只想要回到家乡现在就回家哦，谁能帮我指出回家的路

As the longest social ideology until now, primary Goddess worship has deeply rooted in human species memory-----the collective unconsiciousness,flashing original human nature brilliance. Procreative worship is a kind of culture phenomenon in early human society, which formed to Goddess culture is a important content of ancient culture. Associated with the historical evolvement, NǚWa and Goddess absorpt Chinese nation specific culture factors, developt in the inheritance and became the important part of Chinese culture during the fomation of Chinese cultural Pluralistic Integration.

本文在前人文献资料和田野调查的基础之上，以汉族女娲神话和南方少数民族女神神话为比较研究的对象，将两者放在中华民族文化多元一体格局的大系统中进行考察，主要从文化互动的角度，对二者相同、相异以及相互影响的关系进行全面合理的探讨，在此基础上进一步揭示各民族女神神话&互补互渗，相互交融，你影响我，我影响你，你中有我，我中有你&的关系，更加深刻理解中华文化多元一体的格局。

The reports of anthropologist's fieldwork also indicate that the facts of nonliterate society defiladed and distorted by literate society need a new cognition. The school of New Historism regards that there is no essential difference between historical narration and literatural narration, and something defiladed by narrative discourse will be ascertained, if a critical reflection could be hold.

来自人类学的田野报告也表明，无文字社会被文字社会的权力话语所遮蔽和扭曲的真相有待重新体认。20世纪80年代深受人类学影响而兴起的新历史主义学派认为历史叙事和文学叙事并无本质区别，只有带着高度警觉的批判眼光深入分析，才可以探查到被叙事话语所遮蔽的东西。

Like a pastoral singer, Xu Xiaoyan has employed the near-impre ionist techniques in depicting the fascinating views of the open country in North China Plai under the autumn sun, the yellowing crop stalks are shining agai t the dark, rich soil, which stretches as fat as the eye can see.

徐晓燕原先是一个田园歌手，她用近似印象派的笔法画出华北原野迷人的景色，秋日的阳光下，一望无边的田野，裼色的土地和金色的秸秆交相辉映。

Our works are not the same in this describable context, but the experimental spirit consisting on cross-subject shows the basic humanistic spiritual state by the visual focus. One adopts field observation in micronarration to reconditely express the inner anxiety in the real life in the inexplicit light and shadow. The other drasticly deconstructs the style of the traditional landscape and expresses the intensity of the existing space in the structure which try to reconstruct another "landscape" order.

我们的作品在言说语境中尽管不同，但共同坚持跨学科的实验精神：一个采用微观叙述的田野观察方法，以视觉聚焦来显现基层人文的精神状态，在暧昧的光与影中，隐秘的表达着现实中内心的焦虑和不安；一个则大刀阔斧地解构传统山水画体例，在结构框架中表达对生存空间的思考，企以重建另一种&山水&秩序。

Early though the lau rel grows, it withers quicker than a rose. Now you will not swell the rout of lads that wore their h o nours out. Runners whom renown outran and the name died before the man. And round that early lau relled head will flock to gaze the strengthless dead, and find unwithered on its cur ls, a garland briefer than a girl's.

田野上的荣耀短暂，月桂虽然早开，却比玫瑰早榭，你不会自我陶醉，磨光他们的敬意，声名远播的跑者，他的名声消逝在他之前，围绕着头戴月桂的他，人群凝视着无力的死亡，发现未枯萎的月桂梢，一顶荣冠比少女的花环更短暂。

According to the clear water experiment, aeration performance of the new equipment is good with high total oxygen transfer coefficient and oxygen utilization ratio.

曝气设备的动力效率在叶轮转速为120rpm～150rpm时取得最大值，此时氧利用率和充氧能力也具有较高值。

The environmental stability of that world - including its crushing pressures and icy darkness - means that some of its most famous inhabitants have survived for eons as evolutionary throwbacks, their bodies undergoing little change.

稳定的海底环境─包括能把人压扁的压力和冰冷的黑暗─意谓海底某些最知名的栖居生物已以演化返祖的样态活了万世，形体几无变化。