社会地位

There are simply so many new millionaires and billionaires -- from diverse backgrounds and lifestyles -- that the old signifiers of status have become obsolete.

原因很简单，有那么多新近发家的百万富翁和亿万富翁，他们来自不同的社会背景，有着不同的生活方式，因此传统的社会地位符号已成为昔日黄花。

In the earlier epochs of history, we find almost everywhere a complicated arrangement of society into variousorders, a manifold gradation of social rank. In ancient Rome we have patricians, knights, plebeians, slaves; in

在过去的各个历史时代，我们几乎到处都可以看到，一个复杂的社会安排被划分为各种各样的等级，一个多层次的社会地位分层。

This objective requires the platoon villa in the household education level, the level of civilization cultivation, economic and social status in the higher level to level, so as to facilitate the semi-open-style living environment in compliance with public-mindedness, live in harmony.

这在客观上需要联排别墅的住户受教育水平、文明修养水平、经济及社会地位层次在较高水平上接近，这样才有利于在半敞开式的居住环境中遵守社会公德，和睦相处。

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。

They come from different sectors of society, there are businessman, police, teacher, civil servants; some retired, while others gave up the task at hand, social status and identity, just for come back to Academy of Art to study, to re-trace their childhood dream.

他们来自社会的不同行业，有商人，警察，老师，公务员；有些退休了，有些则毅然放弃手上的工作、社会地位和身份，为的只是回到美院读书，重新追寻年少时的梦想。

In social reality, women are restrained at home for housework and child-care while men work outside as the breadwinners.

从社会现实来看，女性被限制在家中从事家务和抚育孩子，而男性在外劳作，成为家中经济的主要来源，因此女性社会地位低下。

They are prosperous without seeming greedy; they have pleased their elders, without seeming conformists; they have risen toward the top without too obviously looking down on those below.

他们富而不贪；他们会取悦长辈，但不盲从；他们的社会地位逐步上升，却没有太明显表现出对下层社会的藐视与不屑。

Suicidal thoughts affect depressives in every walk of life and every social standing.

自杀的想法，影响抑郁症在社会各行各业的生活和每一个社会地位。

In this paper, the author is going to study the characteristics of female English language from the aspect of sociolinguistics.

女性英语反映了英语国家妇女的社会地位和社会对妇女的态度。因而，我们对女性英语的深入研究具有重大的意义。

And it falls on the shoulders of sociolinguists to find out the underpinning reasons in line with female social status and female movement.

长期以来，社会语言学家注重女性是言语歧视的受害者，并结合女性社会地位和女权主义运动，试图寻找可以诠释的原因。

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 。