男性

At individual level,reconstructing hegemonic masculinities will directly help to bringabout male participation. This paper puts forward such concepts as"male consciousness","male emancipation","duality of Maleconsciousness" and so on.

男性气概是多样的，支配性男性气概是可以被改造的，改造支配性男性气概将在个人层面上直接促成男性参与。

The findings are as follows. First of all, male cosmeticians connect masculinity and profession for promotion by interaction and cosmetic teaching with customer. According to different situations, theyconstruct masculinity and waver between femininity and masculinity. Moreover, their bodies are the practice fields to display their images by keeping a distance from customers to draw the distinctly sexual line and refusing make up for getting rid of the stigmas, such as feminine or sissy. Last but not least, male cosmeticians escape from emotional labor that connected with female closely. Meanwhile, their "backstage" life with the coworkers is the way to adjust their working emotions.Key words: cosmetician, physical labor, emotional labor, masculinity, men's study

在分析各项资料后，可归纳出以下几点研究发现：首先，男性彩妆师透过平日与顾客的互动以及彩妆活动的教学，展现男性与专业性的连结以促进销售业绩，也将「专业性」与女性脱钩；同时，他们会视不同情境，建构阳刚特质，并动态地游移在阴柔／阳刚特质两者之间；其次，身体本身会成为展现男性彩妆师形象的实践场域，他们同时透过与顾客保持接触的距离，刻划出性别界线，但他们自身也会排拒化妆，以挣脱女性化的标签或娘娘腔的污名；最后，男性彩妆师跳脱男性不被期待从事情绪工作的藩篱，而与同事相处的「后台」生活，是调节工作情绪的方式。

Through the depiction of words and deeds of the disabled men, Zhang has deeply explained the dejected and obscene mind of the men characters, and denied the right image of man in the religious society, thus exposing men's weakness and evil of humanity, which is self-centered, foppish, despicable and cheeky.

张爱玲通过对其小说中的精神残障的男性人物及男性的形体动作与语言的细致描绘，深刻诠释了其小说文本中男性人物形象的委顿、浮浪的内心世界，彻底否定了宗法社会中男性的正统身份。张爱玲以此揭示出了男性自我或纨绔或卑劣或无耻的人格缺陷和人性恶的本质。

Water margin,that a work dedicated to masculine has always been highly appreciated.yet,it is beyond any doubt that the book presents a biased and even unjust feature of the feminine .there are few women personages in water margin which can be divided into two kinds briefly: namely "lady of easy virtue" and "heroine".novel go on two extremes overly that women'figure was denied impersonal role maid image mould either "bad" or reach "manlike " so that they cant cross to two description of woman these because the writer was intended or involuntary to describe them these.consequently the women' figure maked untrue exceedingly as to the lady of easy virtue write it to the limit excessively ruthlessly poisonously ; as for heroine write its walk chivalrous and loyal to the limit that the woman wasn't defeated by men.the female extreme image was pointed out that the intention of author come from the influence of the super male consciousness to a certain extent and it is inevitability because of masculine being in charge of linguistical power ,in fact, the appearance of women was just only minor role in order that the hero world need to regard man as the centre too.in a word womens destiny in water margin is a miserable foregone!

水浒传》是1部以描写男性英雄为主的名著，历来受到较高评价。然而，作品在女性形象塑造时存在的偏颇甚至不公正却是毋庸置疑的。《水浒传》中的女性人物屈指可数，主要可分为两大类：1是所谓的荡妇恶婆；2是所谓女英雄。作家在对这两类型女性的描写时，都因作者有意或无意的女性意识而走向极端化，实际上是走上了两个无法交汇的极端，使女性形象的塑造过于偏激，不是"淫恶"到极端，就是"男性化"到极点，写淫妇恶婆，写尽其淫，狠，毒；写女英雄，则写尽其行侠仗义，巾帼不让须眉。这种极端化的女性角色定位，既是作者男权意识的自然反映，又是男权社会男性话语权的必然呈现，说白了，出现在《水浒传》的女性不过是点缀和突出男性的生活，是为表现父权制男性英雄世界服务的。

Obviously, it seems that his intention is to make another kind of voice out of the deep water, which makes it fight against traditional phalloccntrism; while also entangle on the male dcsire peering at female bodies in his narrative words, using the supposing visual center in the film picture to disguise the ubiquitous male desire peering at female bodies, all which embody the desire to close the western cultural center regardless of the picture handling and cameral lens cutting. Finally, he spends every strain to alleviate visual pressure and catering to the visual feeling of the western audience using narrative tactics, while the real intention to fight for language right with traditional phallocentrism. So it"s safe to say that this is a right fight between traditional phallocentrism and marginal counterpart. Just as the sacrifice of women in Zhang"s films, the marginal women again betrayed in Lous, and women again become the punishing and desire subject and swapping subject between men.

似乎让另外一种声音浮出水面是他的叙事意图，使它能够对抗传统中心话语权威；然而，在他影片的叙事话语中，仍然纠缠于固执的男性对于女性的窥视，利用设定影片画面中的表层观看&中心&，企图掩饰他影片中无处不在的对于女性的窥视欲，无论是在影片画面处理、影片镜头的剪辑上都显示出对西方强势文化中心的靠近，利用其中叙事策略来尽量减轻或者迎合西方观众的视觉接受，而其真正的叙事权威就是利用&边缘&来争夺西方观众的肯定，来与传统男性中心权威话语争夺话语权，这是一场传统男性中心话语权威与男性边缘群体争夺话语权的斗争，就如张艺谋的影片中以牺牲女性为代价，娄的影片中同样牺牲了边缘女性群体，女性再一次成为窥视、惩罚的对象，成为男性交换的对象。

Results High purine diet is the main diet habit of the gout people, young and middle aged male prefer to alcohol. The cause of gout in young and middle aged male is drinking mass of alcohol and strenuous exercise,while old aged male is catching cold,changing weather and the use of diuretic. Young and middle aged male will first outbreak at the first metatarsophalangeal joint,involve in single joint,while old aged male at the knee and ankle,involve in two to three joints. Old aged male always go with hypertension, coronary heart disease and diabetes,the rate is significantly higher than that in young and middle aged male(P＜0.05), while the rale of hyperlipemia is similar in two groups.

结果 两组患者均嗜好高嘌呤饮食，中青年男性饮酒明显多于老年男性患者；发病诱因方面中青年男性主要有剧烈运动、大量饮酒，而老年男性主要是感冒、天气变化及使用利尿剂；中青年男性痛风首发第一跖趾关节为多，多数累及单关节，而老年男性则以膝、踝等大关节为多，累及2～3个关节；老年男性合并高血压、冠心病、糖尿病的概率比中青年男性多，两者差异有统计学意义(P＜0.05)，但两者合并高脂血症的概率则无明显差异。

Water margin,that a work dedicated to masculine has always been highly appreciated.yet,it is beyond any doubt that the book presents a biased and even unjust feature of the feminine .there are few women personages in water margin which can be divided into two kinds briefly: namely "lady of easy virtue" and "heroine".novel go on two extremes overly that women'figure was denied impersonal role maid image mould either "bad" or reach "manlike " so that they cant cross to two description of woman these because the writer was intended or involuntary to describe them these.consequently the women' figure maked untrue exceedingly as to the lady of easy virtue write it to the limit excessively ruthlessly poisonously ; as for heroine write its walk chivalrous and loyal to the limit that the woman wasn't defeated by men.the female extreme image was pointed out that the intention of author come from the influence of the super male consciousness to a certain extent and it is inevitability because of masculine being in charge of linguistical power ,in fact, the appearance of women was just only minor role in order that the hero world need to regard man as the centre too.in a word womens destiny in water margin is a miserable foregone!

水浒传》是1部以描写男性英雄为主的名著，历来受到较高评价。然而，作品在女性形象塑造时存在的偏颇甚至不公正却是毋庸置疑的。《水浒传》中的女性人物屈指可数，主要可分为两大类：1是所谓的荡妇恶婆；2是所谓女英雄。作家在对这两类型女性的描写时，都因作者有意或无意的女性意识而走向极端化，实际上是走上了两个无法交汇的极端，使女性形象的塑造过于偏激，不是&淫恶&到极端，就是&男性化&到极点，写淫妇恶婆，写尽其淫，狠，毒；写女英雄，则写尽其行侠仗义，巾帼不让须眉。这种极端化的女性角色定位，既是作者男权意识的自然反映，又是男权社会男性话语权的必然呈现，说白了，出现在《水浒传》的女性不过是点缀和突出男性的生活，是为表现父权制男性英雄世界服务的。

The results indicated that a high percentage of Thai youths experience various forms of dating violence in their relationships. Of the 695 participants who dated, 49.2% of the males and 46.7% of the females had been threatened by their partners, 65.8% of the males and 59% of the females had been relationally abused, 41.9% of the males and 41.2% of the females had been physically abused, 43.2% of the males and 46.7% of the females claimed that they had been sexually abused by their partners, while 49.2% of the males and 46.7% of the females reporting being verbally or emotionally abused.

结果显示泰国青少年遭受不同类型约会暴力的发生率颇高。695名曾参加约会的研究对象中，49.2%的男性与46.7%的女性曾被他们的伴侣恐吓，65.8%的男性与59%的女性曾被对方虐待，41.9%的男性与41.2%的女性曾遭受躯体虐待，43.2%的男性与46.7%的女性曾被性虐待，此外49.2%的男性与46.7%的女性受过言语与情感虐待。

In the 19th and 20th centuries,with women's awakening,women's movement,social history development and the occurrence of the historical view of "from the downside to the upside",women's image and history,that is,herstory,was studied,which is a great progress of human's self-image.

男性的欲望、男性的意愿、男性的价值观，成为叙事的主要准则。因此在几乎所有的历史著作里，充斥其间的是男性的语言、男性的概念、男性的业绩；而女性，只有作为男性的附属品偶尔露面。

Analyzing the transnational and local men's fashion magazines, we can understand even if the international men's fashion magazine, like GQ, appeared and influenced the local male in a global way. From different cultures, magazine origins and readerships, the local men's fashion magazine still can present some diverse features in many aspects.

而分析跨国与本土的男性时尚杂志则可以看出，在全球化的脉络下，虽然有如同《GQ》此类国际性男性时尚媒介的出现，对本地的男性产生一种全球化的男性气质规训，但随著杂志来源、读者群与当地文化的不同，却也并非如Connell所言，全球的媒体会再现出单一的男性气质形式，本地的男性时尚杂志在许多方面仍呈现一些不同的面貌。

I didn't watch TV last night, because it .

昨晚我没有看电视，因为电视机坏了。

Since this year, in a lot of villages of Beijing, TV of elevator liquid crystal was removed.

今年以来，在北京的很多小区里，电梯液晶电视被撤了下来。