神话

"Catch 22" is neither the symbol of eternity and superior words, nor Hiller's myth. It is only an uncertain metaphor without referring to any specific thing or idea.

"第二十二条军规"不是永恒、超言的象征，不是什么"海勒的神话"，而只是一个不确定的隐喻，不具有确定性。

Menu, according to Hindoo mythology, is an emanation from the supreme God; but the compilation which bears his name, though its exact date is not easily discovered, is, in point of the relative progress of Hindoo jurisprudence, a recent production.

按照印度的神话学，"摩奴"是至尊"上帝"的一种分出物；但是这个冠以他的名称的汇编，虽然其确切日期已不易查考，从印度法律学的相对进步来看，实在是一种近代的产品。

Like Hippolytus, this tale deals with things "unspeakable".

像希腊神话里的幼里匹蒂斯一样，这个故事讲的是「不能言语」的东西。

The first, and most consistent historically, is that no myth exists.

首先，也是历史上最一致的观点，就是没有神话存在。

Is the greatest hoax that has ever been foisted on their citizens and the rest of the world.

关于美国的自由和民主的神话，不过是他们自己宣传的谎言。

First of all , it is seen in Zhang Wei"s long writing that continuous changes occurs with the following era contexts which is shown. First, the gradual desalinization of " earth image " on the space," earth " is not only a creation in Zhang Wei"s novel, but the main source of the poesy of its works. It declines after " September fable ", not only indicating Zhang Wei "s decay of poesy of the novel, but also reflecting the disobeyed pross of light appear contemporary China social urbanization and common customs to . Second, the change of " writing subject projection " in the spiritual meaning, Its characteristic displayed by the reduction of image of spokesman as write thought representation .and on the other side represent" person who want more that resist actively " which also shows contemporary intellectual predicament and adjustment of value. Third, in " changeable and separate characteristics in the stylistics ",It changes " epic body " of" Ancient ship "," body not mythical " to " September fable "," pour out body " of" Bai Hui "" Family "," the discipline spreads the body "of Book of other provinces"," lie body " of" Can not recall the hollyhock ". Its constant changes persuing of recreation and sports, has entered into the different book mode and narration of different class gradually too.

首先，张炜的长篇写作中可以看出一种跟随时代语境而不断发生的变化，这表现在：一是空间上的"大地意象"的渐趋淡化，"大地"不但是张炜小说中的一个创造，而且也是其作品的诗意的主要源泉，它在《九月寓言》之后的衰退，不但表明了张炜小说中诗意的衰减，而同时也反照出当代中国社会城市化和世俗化进程的不可违拗；二是精神意义上的"写作主体投影"的变化，其特征主要表现为作为作家思想代言者的"正面的知识者"形象的弱化，代表其另一面的"积极反抗的多欲者"的凸显，这也显示了当代知识分子价值的困境与调整；三是在"文体上的多变与另类化"，由《古船》的"史诗体"，到《九月寓言》的"神话体"，再到《柏慧》、《家族》的"倾诉体"，《外省书》的"纪传体"，《能不忆蜀葵》的"诳语体"，其文体不断求变，也逐渐走入了异书模式和另类叙述。

When he returns to the heroic world of Irish mythology, he describes it with a new homeliness of detail.

当他重新描写爱尔兰神话中的英雄世界时，落笔带有一种细致的回归之情。

In 1686 Robert Hooke of the Royal Society wrote that" A better knowledge of China's civilization would lay open to us an empire of learning, hitherto fabulously described".

年，皇家学会的罗伯特·霍科写道："更好地了解中国的文明，将为我们打开一个知识的王国，对这个王国迄今只有神话般的描述。"

In 1686 Robert Hooke of the Royal Society wrote that "A better knowledge of China's civilisation would lay open to us an empire of learning, hitherto fabulously described"

1686年，皇家学会的罗伯特·霍克写道："更好地了解中国的文明，将为我们打开一个知识的王国，对这个王国迄今只有神话般的描述。"

I think he was surprised because normally English people are supposed to be more cautious, not so hot-tempered as the French.

我想他是很吃惊的，因为英国人通常被认为是比较谨慎的，不像法国人那样好发火———这又是一个神话。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。