神话的产生

The young critics favor critical explore relates to the artistic form and the old critics make a good success of the practice in folkloric criticism, anthropologic criticism, mythic archetypes criticism, psychoanalytic criticism, new criticism, book reviewing, etc.

沈从文、李健吾的创作式批评张扬批评的想象性，重视读者的地位；朱光潜、李长之的知识型批评讲究各艺术品类的通约性，是新文学话语产生的理论源泉；梁宗岱、叶功超的对话型批评引进了一些"新批评"，也将中国文学精华译介到西方，创造了新的文学生态环境，一定程度上改变了人们看现代文学的方式；林徽因的批评张扬了批评的"女性"意识：新老京派都在新批评方面有所探索：前者侧重于与艺术形式有关的批评探索：后者则在民俗学批评、人类学批评、"神话一原型"批评、精神分析学批评、英美新批评、书评等的实践方面成绩显著。

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。

When American Pop art met the Chinese modernism in that very context, a certain mystery was produced: Pop art was readily understood as a Dadaist destructive art, while its cultural deconstructive property seemed to be ignored. By the early 1990s, due to the political reason, China had undergone its rapid social and cultural transition from Enlightenment era to consumerist era, while artists, who were still in despair because of the failure of cultural Enlightenment movement, found themselves confronted with a completely new economic market and their ideas mingled with those of modernist Enlightenment and post-modern deconstruction.

它以风格上挪用、平面化、去意义、去价值这类语言策略解构和消除现代主义的启蒙神话，成为与后现代主义哲学同构的文化思潮。80年代初沃霍尔访华，尤其是1985年劳申伯在北京和拉萨举办个展开始了美国波普主义在中国的传播，而这时正值中国85现代主义运动的高潮，启蒙和反叛是这一运动的主题，正是这种语境使这种传播产生了十分吊诡的意义落差：波普主义很轻易地被理解为一种达达式的破坏性艺术，而它的文化解构主义色彩反倒不易被体会。90年代初中国社会由于政治的原因急促地完成了由启蒙文化向消费文化的转型，艺术家们还沉迷在文化启蒙运动失败的悲壮气氛中却突然发现自己已深陷在一个一完全陌生的经济世界中，理想的失落和批判身份的丧失使他们的思想开始混杂于现代主义的启蒙建设和后现代主义的解构观念之间，于是，波普主义成为这个时代的一种自然的风格选择。

When researching into black-clothed Zhuang in aesthetic anthropology perspective, researchers should start from the angle of the god's culture, or its myth mechanism, to achieve a comprehensive and in-depth grasp of the internal guidance and overall structure of its culture, so as to better reveal the fundamental and special rule of its aesthetics and artistic production and development.

在对黑衣壮进行审美人类学研究时，研究者应该从其关于神的文化考察分析出发，也就是从其神话机制的考察分析出发，全面深入地把握其文化的内在制导因素及其结构整体，如此才能更好地揭示其中的审美和艺术产生和发展的根本而特殊的规律。

The sine qua non of such mythopoeia, for Tolkien, is the making of a world that resembles ours but is not ours, a world that possesses internal logic and self-consistency to the same degree that ours does - but not the same logic: it must have its own rules, rules that are peculiar to it and that generate consequences also peculiar to it.

对托尔金而言，进行神话创造的必要条件是创造一个世界，要与我们的世界相似但又不同，和我们的世界一样都拥有内在逻辑性和自身连贯性，但那又是一种不同的逻辑：它必须有自己的规则，是那个世界特有的规则，然后产生出规则背后特有的结果。

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。

In particular, black white flower, the five kilns broke through the limitations of single-colored glaze, with the artistic effect of traditional ink painting, traditional Chinese painting, calligraphy, ceramics and art combine to create a new integrated arts, opened up the aesthetics of ancient ceramics a new realm, and for the future and colorful blue and white porcelain million development opened the way.ci zhou yao decorative themes are rich and varied, unique, very cool artist who adopted the tactics and superb skill of the art technology, willyu chong people loved flowers and birds, rare birds andrui shou , landscape character, drama, stories, myths and legends, poetry Qu Fu, epigram proverbs, such as painting children at play acrobatics on top of the porcelain to retain a large number of ancient folk painting, calligraphy and folk customs reflect the kind of information, forming a simple, free and easy, a crisp, Haofang artistic style, rich color and a distinctive non-governmental national characteristics , on the domestic and the world of ceramic and have had an enormous impact on a far-reaching, becoming old and sonic booms, renowned Chinese and foreignming yao generation.

尤其是白地黑花，突破了五大官窑单色釉的局限，具有传统水墨画的艺术效果，把中国的传统绘画、书法技艺与陶瓷工艺结合起来，创造了新的综合艺术，开拓了古代陶瓷美学的新境界，并为以后元青花及五彩瓷器的发展开辟了道路。磁州窑的装饰题材丰富多彩，别具一格，画师们采用极其潇洒的手法和高超精湛的画技，将民间喜闻乐见的花鸟鱼虫、珍禽瑞兽、山水人物、戏剧故事、神话传说、诗词曲赋、警句谚语、婴戏杂技等绘于瓷器之上，保留了大量古代民间绘画、书法及反映民俗民风的实物资料，形成了质朴、洒脱、明快、豪放的艺术风格、浓郁的民间色彩和鲜明的民族特色，对国内及世界陶瓷产生了深远而巨大的影响，成为声震古今、享誉中外的一代名窑。

On the other hand, the more important thing is because the urban housing is a kind of heterogeneity products.

另一方面，更重要的是由于城市住房是一种异质性产品。

Climate histogram is the fall that collects place measure calm value, cent serves as cross axle for a few equal interval, the area that the frequency that the value appears according to place is accumulated and becomes will be determined inside each interval, discharge the graph that rise with post, also be called histogram.

气候直方图是将所收集的降水量测定值，分为几个相等的区间作为横轴，并将各区间内所测定值依所出现的次数累积而成的面积，用柱子排起来的图形，也叫做柱状图。