自我形象

In 《Hero's Return》, the astronaut protected by the guards is received by a welcoming crowd. In the first painting, he appears rigid, uneasy and overwhelmed by the scale of the event. In fact, he looks more like a criminal being marched to the execution ground. But in the second painting, he is shown to wave to the crowd and play the role of 'hero' with adeptness. We can almost begin to see the life he leads afterwards. He will be received by various top leaders and interviewed in television programs. In a succession of awarding ceremonies, speeches and briefings, he will become more and more experienced, relaxed and eloquent, so on and so forth. His self will be eroding. Whenever he looks at himself in the mirror, he will see a hero, a hero through and through. Via the contrast of images, the artist subtly reveals the process of hero-making.

在《英雄归》里，那位宇航员在卫兵的护送下，接受人群的夹道欢迎，第一幅画面上，我们可以看到他显得举止僵硬，受宠若惊，仿佛还没有适应如此盛大的场面，夸张地说，他的姿态倒像是一个被押送的犯人，而在第二幅画面上，他已经在挥手致意，看上去已经进入到"英雄"这一角色之中，我们似乎可以猜想他此后的生活，他将会不停地受到领导人的接见，不停地出席电视采访节目、受勋仪式、演讲会、报告会，在那样的过程中越来越老练、坦然，口才越来越出色，如此等等，他的自我逐渐地丧失，甚至当他揽镜自照时，眼之所见也俨然是一个不折不扣的英雄形象。

Others are connected to this theme in a more subjective way as Chen Bo emphasizing the development of the own ego presenting local, anonym heroes and not anymore the prototype imposed by the system.

其他一些作品则用主观性较强的方式与主题发生关联，比如陈波作品强调的不再是由大体制所塑造的全民典范形象，而是局部个别的、无名的英雄在自我意识上的发展。

This kind of effect is possessed of a complex symbolic meaning to symbolize and make real this ever-growing consumer scene of our society through this group of women, so that this visual image can move from an unreal level to a realistic level to express his profound concern for this society and its personal apprehensiveness.

这种效果具有复杂的象征意义，把我们现今社会日益膨胀的物质消费的情景，通过这组女性的形象符号化和现实化了，于是视觉的图像从非现实的层面进入到一个现实的层面，以此来表达他对当下现实社会以及自我内心焦虑的深刻关注。

In today, the Chinese traditional elements have become the counterweight of upgrading self-value image of state, enterprises and individuals.

而今天中国传统的元素已成为国家、企业、个人提升自我价值的形象的法码。

Disinter the crisis of traditional authority masculine visualize, discuss how to cast away the criterion of man. How to response their instinct demand more freely and come back to themselves which haven't been melted by patriarchy?

发掘出传统男性权威形象潜在的危机，探讨男性如何抛弃传统的男性标准，更自由地回应自己天性中的本能要求，回到未受父权制文化浸染的自我，实现男性的更为人性化的生存。

"Skin cells turn over more quickly when you sleep," says Jeanine Downie, MD, director of Image Dermatology in Montclair, New Jersey, and coauthor of "Beautiful Skin of Color.""If you don't get enough sleep, your skin won't renew itself and will start looking dull -- especially as you age, when cell turnover is slowing down."

"皮肤细胞在你睡觉的时候新陈代谢更快"医学博士，新泽西Montclair地区的形象皮肤医学中心的主任，"颜色美丽肌肤"一书的合著者，Jeanine Downie说：如果你没有足够的睡眠，你的皮肤就不会自我更新。

Sociologist Erving Goffman (1922-1982) used the concept of the theater metaphor to analyze how people interact in everyday performance He examined the roles taken on by individuals, different aspects of these roles, how individuals interpret these roles, and how individuals distance themselves from the roles. He explained how individuals go through their lives like actors on the stage playing out their roles for others. In the theatre, the front-of-house staffs are the obvious, most easily recognized representatives of the Service.

社会学家尔文高夫曼(Erving Goffman，1922-1982)运用戏剧分析模式来解读平日习以为常的互动秩序，其认为人们都是舞台上的演员，在观众面前必须竭尽所能，将最完美的演出行为加以呈现并发展出套独特的戏剧论，将社会互动比喻成一连串的表演或戏剧，行为比喻成戏剧演出，而人们在观众面前扮演各种不同角色，一切的行为举止都试图符合他人期待，因此人们会随著不同的情境或观众的要求，自我改变而呈现多种面貌，并调整形象来强化演出。

In "new-reality-fiction", people lost their controlling power to the history and became suspicious of their own subjects, and they, too, lost their selfconsciousness as the rebels, a category of characters aroused in the new-period of Chinese history.

同时，新时期以来的人作为反叛形象的自我主体意识在&新写实小说&中也逐渐消失，现实物质的困窘与日常生活的磨损成为自我主体丧失的辩辞，人在现实日常生活中变得无所作为。

As to the personal image, not only integrated with the mature elite class who recommends High-Fashion, meanwhile kept the Cool-Style personality, this duality of self-identity and the longing for change is what C.H pursues.

在个人形象上，既需要自然融入那些推崇High-Fashion的成熟精英阶层，又希望保持Cool-Style的自我个性，这种自我认同的双重性和对变化的渴求，正是C.H品牌追求的方向。

Classical cheongsam, traditional cardigan,fashionable big V neck collar, originality and refined works, all together create the LMO knitting products, as unique as an artwork containing elegance, romance, nobleness.

LMO品牌精神自然、自我、自信，传承经典与高雅，设计大师的灵感与精致的无需剪裁穿梭于衣装上下，将珍贵的传统工艺融入最新的时尚潮流，自然，艺术，奢华，高贵，融合浪漫的情怀，塑造女人从容优雅，高贵的健康形象，彰显风华，盛放自我。

I am accused of being overreligious," she said in her quiet, frank manner,"but that does not prevent me thinking the children very cruel who obstinately commit such suicide.""

客人们在卡罗利娜·埃凯家里，举止就文雅一些，因为卡罗利娜的母亲治家很严厉。

Designed by French fashion house Herm è s, this elegant uniform was manufactured in our home, Hong Kong, and was the first without a hat.

由著名品牌 Herm è s 设计，这件高贵的制服是香港本土制造，是我们第一套不配帽子的制服。