自我感觉

The whole of the object is which includes the contingency of surrounding, the object is "penetrated". The contingency of surrounding has appeared by the uncertain appearance on the object and endowed with heterology for the product which has no independent ego.

环境的偶然性显明於物件不定的表象，赋予无独立自我的量产品各自相异的表象；继而，使用者通过对於量产品表象的感觉，使之易於达成各自的诠释。

With a mystic, as distinguished from a devote or intellectualist, nirvana is a vision, an experience, a feeling, and self-state-the highest, the best and the most real of all that he knows of thinks of, or speaks of.

由于神秘主义，由于一个圣徒或学者的区别，涅磐是一种洞察，一个经历，一个感觉，和自我状态的最高形式，最好和他知道的，思想的，或谈到的最真。

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 I stood before the castle of the Lich King, I was so tiny, I feel so helpless.

当我站在巫妖王的城堡面前，自我的渺小，是如此的让人感觉到无助。

Limitlessness,The final lesson you must learn is limitlessness,it is the sense that there are no boundaries to what you can become or do.

无限，你最后必须学会的课程是无限，它是一种你去成就自我或创造生活时没有任何束缚的感觉。

Their sense of self-worth and lovability is directly linked to how their partner feels about them.

他们的自我价值感和可爱性跟他们同伴对他们的感觉有直接联系。

P. Lovecraft recounts the story of Randolph Carter, who feels his " self" reel and who experiences a fear worse than that of annihilation: Carters of forms both human and non-human, vertebrate and invertebrate, conscious and mindless, animal and vegetable.

卡特感觉他的「自我」在动摇，并且经验到比身败名裂还要糟糕的恐惧。卡特的类型既是人类又是非人类，既是脊椎动物又是非脊椎动物，既像是特意又像是无心，既是动物又是植物。

Practically, our egos are trapped in one or more of malevolent or neutral feelings.

实际地说，我们的自我陷入了一种或多种恶意的或中性的感觉。

Is the most selfish of human biology, the field is an extension of self-centered, extended beyond the stage-based, and have a similar shock and sympathy in the time, or to the point where ordinary people can not touch, giving us the feeling that the sacred and great, rich and deep, in fact, the idea of a great man and great man is so produced.

人类是最自私的生物，是以自我为中心向外延伸，延伸超出到本位的阶段，且在同类之中产生震憾和共鸣的时候，或者到常人无法触及的地步，给人的感觉就是神圣和伟大，博大与精深，事实上，伟人和伟人的思想便是如此产生的。

To achieve peace, we feel and express our inner peacefulness.

为了实现和平，我们感觉并表达自我内在的平和。

She gently rebuff ed him, but agreed that they could be friends

她婉言拒绝了，但同意作为朋友相处。

If in the penal farm, you were sure to be criticized.

要是在劳改农场，你等着挨绳子吧！