自我感觉

I'm going out tonight, I'm feelin' alright, gonna let it all hang out.

今晚我要出去，我现在感觉很好，放开自我。

Playing a character with a private server is like talking to a picture when you're lonely,"kind of like anesthetizing yourself".

在私服里玩游戏就像一个人对着图片说话，&有种自我麻痹的感觉&。

Black oozes do not appear concerned with self-preservation, and some theorize they cannot feel pain.

黑色淤泥似乎并不关心自我保护，一些人认为它们无法感觉到疼痛。

Now how does traditional Chinese culture treat a man who reneges on the good done him by not just any woman, but by a lowly courtesan of a woman?

传统中国里，女人并不被看为是垃圾，并不好像这部迪斯尼影片所描绘那样，连性命都比不上要让一些自我为中心的、缺乏自信的男人，不会因为保卫国家被女人超越而感觉&丢面&。

I can hope that the afterlife won't be yet another life ruled by these few, easy demands of morality, another empty and vegetating life .

现在，她觉得无比的空虚，生活的一切都没有了趣味，什么都不能再吸引她，生活纯粹是一种折磨人的无聊。她感觉自我已经变得多余，生命没有了意义。

Facing the indifference, the painter has a depression. It is this depression that prompts him to face the things bravely, whose silence and loneliness are far superior to human beings'. Humans divide themselves and break down themselves. Paintings' task is just to bring humans to an inorganic world, the border of life, where things are concrete and frozen, and where they have new understanding of the world.

绘画在面对这种漠然时感到一种深深的绝望，正是这绝望触动了画家去面对这些物，物的沉默和孤独远远超越我们人类，绘画不过是把已经自我分裂与自身分解的人类带往物的坚实和凝固，在无机物那里，在生命的边界上，产生对世界之新的感觉。

Both of you have the ability to accept each other for what you are and tolerate each other's foibles.

你们能感觉对方一直是自己的依靠，并在不失去自我的情况下接受对方并容忍彼此的缺点。

When he feels this way, he starts to sing loudly, a kind of self-hypnosis, psyching himself up to be cheerful and to fully apply himself to his job.

当他感觉这样时就会大声唱歌，像是要自我催眠，提升自己的情绪，使自己快乐，好使自己能完全投入工作之中。

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。

From conception, birth childhood, adolescence, and beyond we have continued to form a deep sense of self.

从观念、出生儿童时期、青春期而来和超过我们继续形成一个自我深深的感觉。

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！