笔下

In the second section,this article use Freudian personality theoretics to analyse beicun's productions' vanward hankerer of love.In the third section,this article moot the beicun's spirit exploration way from religion to suspicion,then from suspicion to regress.

在第二部分主要运用佛洛依德的人格理论来论述北村笔下的先锋式爱情追求；然后在第三部分回顾了北村从信仰到怀疑最后走向回归的精神救赎之路。

This figure has an animal look on his face, with the round eyes and a harelip. The anxious look is the fundamental nature of his work. It enchants the viewers, who are standing within the same lonesome background, attracted by them, and loving them.June 22nd, 2006

他笔下的人物，脸上流露出那种动物般表情，那对圆眼和兔子嘴，局促不安的神情其实才是他作品的根本特色，同时又让身处寂寥背景中的绘画观者，不禁让人由怜生爱。

This dissertation focuses on the"image of the Chinese"in the literary works of Bret Harte, Mark Twain and Jack London.

本文对布勒特·哈特（Bret Harte，1836-1902）、马克·吐温（Mark Twain，1835-1910）、杰克·伦敦（Jack London，1876-1916）笔下的中国人形象进行研究。

In the female writing of new period, young girls' images have abundant and complicated spirit content.Its growing situation naturally contains father, mother,homoerotism,isomerism etc.

在新时期女性作家笔下，少女形象具有丰富而复杂的精神内涵，其成长态势自然地含蕴了与父亲、母亲，同性、异性等的多重关系维度。

The liberty and strength of the pine reviews vividly and incisively in his works.

达观苍劲的松柏精神在他的笔下表现得淋漓尽致。

She expresses her heartfelt understanding and respect for the heroes, who had to live on in their way indefatigably.

她肯定了人的欲望的合理性和积极性，她笔下的人物都不屈不挠的生活着。

His excellent instantaneity glitters with mysterious light, which makes the instant concentrated, explosive, dramatic and deeply expressive.

他笔下那精妙的瞬间在作品中闪耀着神秘的光芒，这一瞬间具有浓缩性、爆炸性、戏剧性和可表现性。

This is very much a traditional history, focused on the interplay of powers and the march of events.

侯莱尼笔下的阿拉伯史走的是传统路线，关注的是国家间的相互影响和历史事件的逐步推进。

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 a lot of pens they are known as bull queers or jailhouse susies-just lately the term in fashion is "killer queens."

在很多作家笔下，他们被称为"同性恋者"或"监狱苏茜"，最近，又有一个时髦的称谓叫"杀人皇后"。

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。