神话的

Myth and art are interknit from their birth. The first, myth and art all are fictions. The second, myth has double structures of conception and sensibility, theory and art. The third, be related to the characters of mythical thought, myth had unified intuitive images and feelings, but feelings of myth is different from that of art. The forth, feelings of art have a character of associability.

神话和艺术从生成始就是有着密切的联系的：首先，神话和艺术一样都是一种虚构；其次，神话具有概念和感性、理论和艺术的双重结构；再次，与神话思维的特征相关，神话具有直感性与情感的统一性，但是神话中的情感不同与艺术中的情感；第四，神话情感有交感性的特点。

The ancient mythology is divided into the mythology of Nomadism and the mythology of Ecesis, and with the ab extra mythology which swarm into along the silk road composed the three power of the mythology of westen regins.

西域古神话由此分裂为游牧者的神话与定居者的神话两大类别，它们与沿着丝绸之路从四面八方涌入的外来神话共同构成西域神话发展的三股力量。

Institute of Ethnic Literature, Chinese Academy of Social Sciences, Beijing 100732Chinese minorities'myth which norm is the form of 1950's, has such characteristics: firstly, many nations'myths not only come down by word of mouth, but also unite with social organizations, producing ways, living customs and cult, magic and taboos; secondly, many nations'myths have been packed up by flamen and singers, systematized, and become epics; thirdly, congeneric myths in identical nation have different forms.

以20世纪50年代的形态为基准，少数民族神话具有这样一些特点：首先，不少民族的神话处于活的形态，它们不仅仅是以口头的形式流传，而且还与民族的各种社会组织、生产方式、生活习俗以及各种祭仪、巫术、禁忌等结合在一起，成为这一切存在和进行的权威性叙述；其次，不少民族的神话经过祭司和歌手的整理，已经系统化、经籍化、史诗化，有较强的叙事性；第三，由于地域等的差异，同一民族的同类神话有不同的流传形态，它们可能映现了这类神话发生发展的脉络，等等。

This paper discusses the introduction of totemic theories into the study of Chinese mythology with foci on sympathetic birth and metamorphoses, and therefore reviews the relationship between totemic theories and the interpretation of Chinese mythology.

本文由图腾理论的引进与中国神话研究的缘起入手，以中国古典神话中的感生神话与变形神话作为主要讨论范畴，反省图腾理论与中国神话诠释之间的关系。

World renowned Mythologist Joseph Campbell studied mythologies in different cultures all over the world and concluded that there's a Mono-Myth where cultural mythological stories may seem different in content, while in fact it's all the same in terms of the nature.

举世闻名的神话学大师坎伯研究包含来自东西方世界各地不同文化的神话故事，得到一个『单一神话』的结论，那就是无论神话故事的内容如何的变化多端，这些故事的本质是相同的。

The conclusion sums up the evolvement characteristic of the two national mythology : the mythical culture of Mongolia is influenced by Buddhism mythology deeply, and the ancient mythology of the Manchu is influenced by other national mythical culture less that is still keeping original natural style. The taleization and epic characteristic of Mongol mythology is obvious. The Manchu mythology, as each clan of clan oracle, mythology, refreshing song, is mainly kept by the form of teaching orally generation by generation. Swan fairy maiden tale obtains different development in two nationalities. In the mythology of two national Shamanism, the worship form of hawk and vulture and the production of Shaman is derives from the common faith—Shamanism.

结论归纳总结了两个民族神话发展演变的特征，即蒙古族神话文化深受佛教神话影响，满族古神话受其他民族神话文化影响相对较少仍保留着原始自然的风格；蒙古族神话故事化、史诗化特征明显，满族神话作为各氏族部落神谕神话神歌主要通过世代萨满口耳相传的形式保留下来；天鹅仙女神话故事在两个民族中得到不同层次的发展；两个民族萨满神话中鹰鹫崇拜的形态和萨满产生母题来源于共同信仰的萨满教。

From the Warring States Period to the Qin Dynasty, the ancient myths and the ways of searching longevity indicated that the"God"concept was equal to the"immortal"which emphasized that the athanasy of the life is a"divine"nature, unlike ordinary people. In the Han Dynasty, the immortal concept undergone a subtle change, the god was becoming closer to the"human"existence. After the establishment of the Taoism, The Eastern Jin Taoist scholars Gehong established the immortal concept of Taoism,and put the"God"downgraded to longevity who practicing the longevous knowledge,and even established a"Dixian"concept. This completed the transformation process of"Shenren"to"Dixian"concept.

从战国至秦代神话的内容和古人探求长生不死的方式来看，最初&神&和&仙&的概念是一致的，强调的是神的先天不死性，体现为不同于凡人的&神人&概念，汉时的神仙思想发生了微妙变化，神仙逐渐变为接近于&人&的存在，道教创立后，东晋的道教学者葛洪把先天的&神&降格为懂得长生术的&人&，并提出了&地仙&概念，完成了&神人&向&地仙&概念的转变。

This thesis, applying western postmodern- feminism as the theory background, and the social and history status of Chinese women as the culture background, tries to unveil the postmodernism spirit trend that demonstrated by Chinese feminine writing in 90s in the following three aspects: the establishment of female discourse power, orectic writing, the breakdown of maternity mythology, and under the guidance of this spirit trend, the persistency and hard work Chinese female writers has put in reconstructing feminine "detailed history", fighting oppression of the masculine discourse power and actively expressing her creativity and vitality.

本文以西方后现代女性主义批评理论作为阐释的理论背景，以中国女性的社会历史地位作为阐释的文化背景，结合90年代中国女性写作的实践，从女性话语权的树立、欲望化写作、母性神话的窥破这三个方面，力图揭示出90年代中国女性写作所展现出的后现代精神向度，及在这一精神向度的指引下，中国女性写作重构女性&具细的历史&、抗争男性话语权力的压抑、积极表现女性创造力与生命力的执著与努力。

In short, the popular narrative of the pacifistic Buddhist Tibetans as the good guys and the Han Chinese as the bad-guy aggressors is the stuff of pure myth, pushed by union propagandists, lefty Hollywood do-gooders, and trendy sandal-wearing Western camp followers of the Dalai Lama, who has become a secularized yet "spiritual" substitute for Mother Theresa.

简而言之，作为好人和作为坏人的进攻者的Han 汉语的和平主义的佛的西藏语的受欢迎的故事是纯神话的材料，以协会宣传员推，左撇子的人好莱坞自以为是做好事，以及时髦穿凉鞋西对那些达赖喇嘛的随军人员，变得一使世俗化&精神&代替母亲特里萨。

The one is merely the norse, the other the German, form of one and the same nature myth, or epic

只不过前者是斯堪的纳维亚神话，而后者是德国神话。它们形式一样，神话性质或者说史诗性质也一样。

Breath, muscle contraction of the buttocks; arch body, as far as possible to hold his head, right leg straight towards the ceiling (peg-leg knee in order to avoid muscle tension).

呼气，收缩臀部肌肉；拱起身体，尽量抬起头来，右腿伸直朝向天花板（膝微屈，以避免肌肉紧张）。

The cost of moving grain food products was unchanged from May, but year over year are up 8%.

粮食产品的运输费用与5月份相比没有变化，但却比去年同期高8％。