笔下

As David Thorburn writes, Though all his people are orphans, Conrad remains one of the great portrayers of the anguished impotence of fatherhood.

正如戴维·索伯恩所言：尽管他笔下所有的人物都是孤儿，康拉德仍然成为苦恼、虚弱父权的伟大肖像画家之一。

As David Thorburn writes, Though all his people are orphans, Conrad remains one of the great portrayers of the anguished impotence of fatherhood.

正如大卫E索伯恩所言：「尽管他笔下所有的人物都是孤儿，康拉德仍然成为苦恼、虚弱父权的伟大肖像画家之一。

With exquisite techniques and vivid portrayals , they are creating works of eternal memory.

细腻的手法、生动的造型，世间的一切在画家的笔下都成了永恒的记忆。

This is deeper and finer than what has come out from the pens of our poetasters in a hundred years.

这首歌比我们的一些打油诗人100年来笔下的作品要深刻得多，美好得多。

In an assembly of phantasms such as I have painted, it may well be supposed that no ordinary appearance could have excited such sensation.

完全有理由可以这么说一句：在我笔下描绘的这么个无奇不有的大会里，寻常一般人的出现是决不会引起轩然大波来的。

Both of the women images" adversities in Tagore"s novelettes and the adversities of Tagores inner world embodied by the women images tell us that how difficult it is for the old Indian civilization to modernize, and so it will be for the old oriental civilization.

无论是泰戈尔笔下的女性形象所经历的矛盾痛苦，还是这些女性形象所反映出来的泰戈尔内心世界经历过的矛盾痛苦，都向我们昭示了古老的印度文明要实现自身的现代化曾经历过的和将要经历的艰难痛苦；古老的东方文明的现代化的进程同样将是一次长期而艰难的苦痛分娩。

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。

These two writers are full of romantic quality.In their works,Chongqing is just like a cloud floating on war,politics and history,and it often makes people feel untrue.

这两位作家是具有浪漫气质的人，他们笔下的重庆像是漂浮在战争、政治、历史之上的浮云，常给人虚幻不切实际的感觉。

Pure vitriol spilled from the pens of my critics,but I see no reason to revise my central hypothesis,which is based on the records of the day:that Hitler grasped quite early on that antisemitism would be a powerful vote-catching force in Germany;that he had no compunction against riding that evil steed right up to the portals of the chancellery in 1933;but that once inside and in power,he dismounted and paid only lip service to that part of his Party creed.

纯粹的刻薄话从批评家的笔下溢出，但是我仍未看到有任何必要来修订我的核心理论，因为这是基于当时的记录所得来的：希特勒很早就清楚，反犹政策在德国将会是获得大量选票的原动力；在1933年，他也并没有后悔靠着骑上这匹邪恶的马，犹如猎狐一般直冲向总理府的大门；可一旦进入总理府当权之后，他立即下马，把这个政策局限在口头的应酬和党的纲领的一部分。

This paper from the three-pronged approach described by Zhang Yimou to interpret the tragedy of red and tragic characters.

本文从两个方面入手来解读张艺谋笔下的悲剧红色和悲剧人物。

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。