自我表现

He has made exceptionally extraordinary performances in every painting category: as for calligraphy, he can integrate seal character, grass character, regular script and official script and create his own calligraphical style; as for paintings, he can switch from different modern and traditional fields and express his own feelings with skill and ease but without forced intention.

我以&刀笔奇才，书画鬼手&兆晖，其言非过，他在艺术技法修养的全面来说，早已打破了花鸟，山水人物的界线，打破了中西的界线，任何一个绘画门类在他的笔下都有非凡的表现，在书法中他可以将篆草楷隶融成一炉，打造自己的书体，在绘画的形式中也可以出入现代和传统的不同领域，表达自我感受，游刃有余，绝不牵强。

Under Chinese culture, Nanjing students represent more self-enhancement on the collectivistic traits or future events than the individualistic ones.

在中国文化背景下，南京学生在具有集体主义色彩的特质或未来事件上表现出了更高的自我增强水平。

As an important phenomenon that permeates most of Roth works, counterlife gives full scope to the complexity of man's selfhood, Jewish identity, and national character of America.

它的成功使用很大程度上使作者在表现诸如人的自我，犹太人的群体身份以及美国人的国家性格等问题的复杂性时显得格外游刃有余。

Children' s ogecetrism stems from biological ability precipitated in racial evolution and show tendency of decentration.

这种精神特质的发生与发展根源于儿童个体所携带着的种族进化的生物性积淀，并伴随后天社会性文化的影响而表现出不断去自我中心化的过程。

This Self is embodied, as it were (according to the Dharmakshema sutra), in the "extremely profound sphere - domain - realm of the Tathagata, the eternal, untransforming Dharmakaya", which is the abode of the unsurpassed Dharma Lord, the Holy King.

这个自我是表现的，就象它是（根据Dharmakshema佛经），在如来非常深奥的领域-拥有-领域，永恒，不变的法身。

The case study found: the boy's play therapy went through 3 phrases, including "knowing the therapeutic conditions well","establishing of therapeutic relationship","developing play therapy evolutionally"; the clues from which to judge relationship included "verbal and nonverbal interaction between therapist and the boy","the boy's dealing with his parents ","his 'first' behavior", the aim of establishing was to form "mother-child unity"; the relationship between therapist and the boy's parents passed through "admitting the facts","opening their feelings" and "detailed guidance"; the development of the boy's play consisted in the larger degree of digging and moving sand(showing that the therapy went deep into the boy's mind and his sense of strength was improving), the increasing of imaginative plays(showing that the boy began to pay attention to others and knew how to play), from playing by himself to cooperating with therapist(showing that he felt the happiness in cooperating and interacting with others and was gaining self-confidence which was favorable to be transferred to his lives and be used to communicating with others), sand and water were very important therapeutic factors for the boy(sand could mobilize his sense of feeling and touching , awakening his energy and regulating it. water could provide relaxed feeling, sense of being contained and satisfied and enlighten his imagination).

研究发现，个案的游戏治疗经历了三个阶段，即&熟悉治疗环境阶段&、&治疗关系建立阶段&和&游戏治疗深入发展阶段&；考察治疗关系建立的指标包括&个案与治疗者之间的言语和非言语互动&、&个案与父母的关系处理&和&个案的'第一次'行为&，建立的目标是&母子一体性&的形成；治疗者与个案父母关系的建立经过了&接纳事实&、&开放情感&和&具体指导&三个阶段；个案在治疗中游戏的发展表现为：动沙的力度增大，说明治疗深入了个案内心，其自我能量感在增强，游戏中的想象性成分不断增多，说明其对周围事物和他人关注了，开始&会&游戏，从单独游戏逐渐向简单合作游戏发展，说明其体验到了合作和互动的快乐，并从中渐渐获得自信，有助于个案将这种体验和自信迁移到日常生活中，尝试与他人互动；沙和水是个案游戏治疗中的重要治疗因素，沙可以调动自闭症幼儿的感触觉，唤醒其潜在能量，调整能量分配，水给自闭症儿童一种轻松感、包容感和满足感，并引发其想象。

The case study found: the boy"s play therapy went through 3 phrases, including "knowing the therapeutic conditions well","establishing of therapeutic relationship","developing play therapy evolutionally"; the clues from which to judge relationship included "verbal and nonverbal interaction between therapist and the boy","the boy"s dealing with his parents ","his "first" behavior", the aim of establishing was to form "mother-child unity"; the relationship between therapist and the boy"s parents passed through "admitting the facts","opening their feelings" and "detailed guidance"; the development of the boy"s play consisted in the larger degree of digging and moving sand(showing that the therapy went deep into the boys mind and his sense of strength was improving), the increasing of imaginative plays(showing that the boy began to pay attention to others and knew how to play), from playing by himself to cooperating with therapist(showing that he felt the happiness in cooperating and interacting with others and was gaining self-confidence which was favorable to be transferred to his lives and be used to communicating with others), sand and water were very important therapeutic factors for the boy(sand could mobilize his sense of feeling and touching , awakening his energy and regulating it. water could provide relaxed feeling, sense of being contained and satisfied andenlighten his imagination).

研究发现，个案的游戏治疗经历了三个阶段，即&熟悉治疗环境阶段&、&治疗关系建立阶段&和&游戏治疗深入发展阶段&；考察治疗关系建立的指标包括&个案与治疗者之间的言语和非言语互动&、&个案与父母的关系处理&和&个案的'第一次'行为&，建立的目标是&母子一体性&的形成；治疗者与个案父母关系的建立经过了&接纳事实&、&开放情感&和&具体指导&三个阶段；个案在治疗中游戏的发展表现为：动沙的力度增大，说明治疗深入了个案内心，其自我能量感在增强，游戏中的想象性成分不断增多，说明其对周围事物和他人关注了，开始&会&游戏，从单独游戏逐渐向简单合作游戏发展，说明其体验到了合作和互动的快乐，并从中渐渐获得自信，有助于个案将这种体验和自信迁移到日常生活中，尝试与他人互动；沙和水是个案游戏治疗中的重要治疗因素，沙可以调动自闭症幼儿的感触觉，唤醒其潜在能量，调整能量分配，水给自闭症儿童一种轻松感、包容感和满足感，并引发其想象。

In the survival period, Gastropoda has stronger ability of self-recovering and adapting to environment than foraminiferida.

在残存期内，腹足类生物较有孔虫生物表现出较强的自我恢复和适应环境的能力。

Distinct intellectual thinking based on classical formal logic and served as a kind of thinking fashion infiltrate thorugh human selfconsciousness of practice,as was featured by Helladic civilization.

类属边界表现清晰的知性思维构筑在古典形式逻辑之基础上，而作为一种思维方式，渗入人类自我意识的实践活动，其中以古希腊文明为代表昭示了这一过程。

In this painting Yin Zhaoyang is experimenting with iconological psychoanalysis; the image conveys a self-doubt that is ambiguous and hard to describe, and in this way he breaks away from the ideas of traditional iconography regarding the representation of others.

尹朝阳的这张画进入了一种肖像学的精神分析层次的实验性，并在肖像上进入了一个更暧昧和难以名状的自我不确定性的表达，由此打破了传统肖像学对于他者的表现概念。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。