自我形象

The inclination of self-preoccupation appears strong; in creation, the authors are inclined to pursue the unconventional and fanciful poetic style; the fantasies tend to manifest the psychology of overcompensation and perfectionism; and the description of the images of lyric heroes possess the characteristics of self-adornment.

贯穿屈原人格的是自我中心，主要表现在自我意识突出，有强烈的自我关注倾向；创作上追求标新立异的奇幻诗风；幻想倾向表现出过度补偿和完美主义的心理；对抒情主人公形象的描绘带有文饰自我的特点。

On the poetics level, using a irrational female-genesis to self-explaining; using a "body-writing" as a self-domination, making a self-realization by ways of "dark","blood","death", such as those feminine imagination; making a self-represent ion by "monologue". On cultural consciousness level, takinga self-searching on reconsidering woman's status and ending in love; taking a self-awaking by showing what a mother had "done" for daughter in order to serve and maintain man society; introducing a self-remolding through recover and rebel the man ideology; be self-awakening and oppugning the man-centre society, within its cultural "make","assimilation" to female herself.

本文从两个方面来集中分析《女人》显示出的的"女性意识"：在诗学审美形态上，以非理性的女性"创世神话"题材来解释"自我"；以"躯体写作"的方式来支配"自我"；以"黑夜"、"血"、"死亡"等"阴性意象"来认识"自我"；以"独白"的方式来表达"自我"；在文化意识形态上，以对爱情中女性地位和结局的重新思考来寻找"自我"；以"母亲"对"女儿"的"塑造"来揭示"母亲"作为男权社会的"服务者"和"维护者"形象达到警醒"自我"；对男性文化意识形态的还原和反叛来解构男性中心文化并重铸"自我"；在辨认"自我"的觉醒中将质疑引向对男性中心社会及其所预置的文化秩序和"被造"、"被同化"的女性自身。

In a word, this two chapters, focusing on the analysis of two women characters, especially Sula, the heroine, depict three different kinds of black women: Eva, the ancestor of self-searching, passive and assimilated by the male-centered consciousness in the end; Sula, a new world woman, completely independent in self-searching and Nel, the future successor to Sula in the pursuit of self and thus show Morrison"s profound recognition of the hard process of black women"s self-searching.

总之，这两章通过对小说中两个主要人物，特别是通过对女主人公秀拉的分析，展示了三种不同的女性形象：被动探寻自我并最终被男性意识同化的的老一辈人物伊娃，完全独立追寻自我的新时代女性秀拉以及未来追寻自我的秀拉的继任者内儿，从而强调了黑人女性追寻自我历程中的艰难。

On the poetics level, using a irrational female-genesis to self-explaining; using a "body-writing" as a self-domination, making a self-realization by ways of "dark","blood","death", such as those feminine imagination; making a self-represent ion by "monologue". On cultural consciousness level, takinga self-searching on reconsidering woman's status and ending in love; taking a self-awaking by showing what a mother had "done" for daughter in order to serve and maintain man society; introducing a self-remolding through recover and rebel the man ideology; be self-awakening and oppugning the man-centre society, within its cultural "make","assimilation" to female herself.

本文从两个方面来集中分析《女人》显示出的的&女性意识&：在诗学审美形态上，以非理性的女性&创世神话&题材来解释&自我&；以&躯体写作&的方式来支配&自我&；以&黑夜&、&血&、&死亡&等&阴性意象&来认识&自我&；以&独白&的方式来表达&自我&；在文化意识形态上，以对爱情中女性地位和结局的重新思考来寻找&自我&；以&母亲&对&女儿&的&塑造&来揭示&母亲&作为男权社会的&服务者&和&维护者&形象达到警醒&自我&；对男性文化意识形态的还原和反叛来解构男性中心文化并重铸&自我&；在辨认&自我&的觉醒中将质疑引向对男性中心社会及其所预置的文化秩序和&被造&、&被同化&的女性自身。

In this set of works, the self-image disappeared and the surreal empty space disappeared. They are replaced by landscape or objective images, but these images are of symbol and metaphor, rather than particular figures. In the 1990s, the trend of Pop art finally had an impact on Deng Jianjin. The obscure colors are replaced by bright colors which are neither the natural colors nor the tone pursued by traditional oil painting. They come from the space of contemporary life that is the visual space of icons and landscapes.

在这一批作品中，自我的形象没有了，超现实的虚无空间也没有了，代之以景观的或客体的形象，但这种形象是隐喻与象征的，而非特定的人物形象。90年代波普化的大潮终于对邓箭今产生了影响，晦涩的颜色被明亮鲜艳的颜色所代替，这种颜色不是自然的颜色，更不是传统油画所追求的色调，它来自于当代生活的空间，亦即图像与景观的视觉空间。

Subsequently, based on the free spirit and unrestrained personality in Qu Yuan and in the tradition of Li Sao, these writers surpass themselves and make the image abundant with new significances. The traditional figure of self-query, of self-exile, and self-criticism, not only passes beyond the tradition of national tragedy, but also retrieves the essence of self-examination. Thus, these writers have obtained more freedom to interpret "Qu Yuan", and the tradition of Qu Yuan in oversea Chinese literatures has been reconstructed with modernity.

之后，借重于屈骚传统中的自由精神、狷狂人格展开自我超越的思路，使新马作家笔下的屈原形象不断呈现新的丰富含义，其自我质疑、自我流放、自我反省不仅走出民族悲剧的屈原传统，而且寻回了&内省&本质，获得了&屈原&言说的更大自由，海外华人文学中的屈原传统也由此得到了一种现代性的建构。

His solution was hung upside down in the noble people of the rational pursuit of self-desire for power, ultra-era practice of self-balancing innovation with the "leftist" irreconcilable power to counter the self, all will be "self-sovereign will of the people of this high standard" of the image loading history.

他解民于倒悬的高尚的自我权欲的理性追求，超时代的自我权衡创新实践，与&左倾&势不两立的自我权力抗衡，都将以&自我主权意志的人本高标&之形象载入史册。

Using the image of comparative literature on the theory and methodology, this paper cards Western image of the ancient Chinese before the Qing Dynasty and analyzes the characteristics of the traditional mode of thinking and collective imagination at the beginning. Then, connecting the above features, it focuses on the image of the United Kingdom in travel notes of the Qing Dynasty and analyzes the role and significance of the travel notes and the officials in the formation of "the image of the United Kingdom" in the Qing Dynasty. That is, travels text is a kind of cultural narrative, Travels with intertexuality completed the social collective imagination. As the Qing Dynasty Construction of the image, officials try to deviate from the traditional Chinese collective imagination. By virtue of British image of self-desire, they state their self-desire and reflect on their own culture.

本文借助了比较文学形象学的理论和方法论，首先梳理了清代前中国人眼中的&西方形象&，分析出中国古人看世界的文化心理和传统思维模式特点，接着结合上述特点解读清代游记中的&英国形象&，并分析出清代游记和清代使官在英国形象生成中的作用和意义：游记文本是一种文化叙事，游记的互文性写作完成清代人对英国的集体想象；清代使官作为形象的建构者，试图背离中国传统的集体想象，他们借助英国形象言说自我的欲望、反思自身的文化。

The tragedy for India was that it internalized a self-image of a banana republic.

印度的悲剧就在于内化了香蕉式共和国的自我形象。

One of the earliest and most convincing experiments along this line was conducted by the late Prescott Lecky, one of the pioneers in self-image psychology.

年代最早最具有说服力的实验之一是由已故的普雷斯科特。莱基做的，他是自我形象论心理学先驱之一。

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。