自我表现

It is famous as the "capital of nine dynasties " and enjoy yhe honer that luoyang peony is the best in the world.

自我介绍是很好的表现机会，应把握以下几个要点：首先，要突出个人的优点和特长，并要有相当的可信度。

Where mortals indulge their senses, where excess overcomes restraint,the Masque appears to lead the incautions on a dance of doom, as she enacts the tales of slaanesh's greatest victories and most unholy conquests,her golden mask flickers and changes, matching the roles of characters she plays.

当凡人们因此而放纵自己的感受，超过了他们对自我的约束。假面舞女就会为这些粗心大意的人跳起末日之舞，当她用舞蹈表现slaanesh最伟大的胜利跟绝大多数邪恶征服传说的时候，她的黄金面具会闪现变化出她所表演的故事中的人物的样子。

Where mortals indulge their senses, where excess overcomes restraint,the Masque appears to lead the incautions on a dance of doom, as she enacts the tales of slaanesh's greatest victories and most unholy conquests,her golden mask flickers and changes, matching the roles of characters she plays.

当凡人们因此而放纵自己的感受，超过了他们对自我的约束。假面舞女就会为这些粗心大意的人跳起末日之舞，当她用舞蹈表现slaanesh最伟大的胜利跟绝大多数邪恶的征服的传说的时候，她的黄金面具会闪现变化出她所表演的故事中的人物的样子。

In the eastern tradition, a cycle of 64 Dakinis/Yoginis represents a complete cosmogram for the transformation of the self, embodying the total energy cycle of creation as depicted by the dance of Gnosis, the wisdom and energy of the divine feminine.

在东方传统，64位空行母/瑜伽母围成一个圆圈是代表全部自我转化的宇宙周期，通过对灵知，智慧和神的女性能量的跳舞来作为描述，具体表现了创世的整个能量循环周期。

Based on this, the author analyses the teleology which sustains self-negation, and points out that what Marx's geisteology needs is not only subjectivity, but also the condition and process human turning into subject, so we ought to reflect human's existence beyond teleonomy.

因此，对立统一和自我否定相互依赖，一方并不能仅仅归结为或表现为另一方，它们应当在相互诠释中构成一个解释学循环。

Behind it are the intellectual's narcissism and arbitrary distorting of subalterns, which is a typical expression of the writer's elite consciousness.

这是作家精英意识的典型表现之一，暴露了作家潜意识中的自我中心主义，而底层的苦难被边缘化，自身的苦难被无限夸大并成为精英身份的自证之物和炫耀的资本。

Not many people understand that body language also helps project ones self in a certain way.

形体语言在某种程度上可以表现自我，这一点不是许多人都知道的。

But don't imagine that there is not the same amount of schmoozing as in any other career field.

全职模特想要获得成功必须表现出色，要学会自我推销、行动快速、能够经常旅行。

Designer use the pattern、constitute lanaguge and so on.Through the symbol to show personal design ideal .The design of symbol also select、re-constitute evolution and creat the typical symbol fundamental.The nationality's decoration、wear system are breaked、analysized、dispersed and used again in modern fashion design.

设计师运用一定的图像、构成等语言，通过可感知的符号表现自我的设计理念；符号的设计又是对典型符号元素的精选、重构、演化和创造，民族原生的装饰、佩戴、穿着体系被打散、分析、解构，重新运用于现代服饰设计中。

This paper attempts to study those typical texts in detail,on the basis of the in-depth analysis of the narrative art and techniques of the 1940's narrative poems,mainly from four aspects:the lyric narration,imagery narration, dramatic narration,"moledicized" narration,so as to explore and appraise their historical contribution,values,functions and limitations in the modem poem history.In the narrative poems in the 1940s,the technique of"lyric narration" is embodied mainly in the high degree of artistic integration of "felling" and "polt".The lyricism is fully embodied in both structure and language,and generally through two ways:the lyricism of the dramatis personae and the lyricism of relaters or poet himselfThe narrative poets in 1940s have further developed the "mood" type of narrative poems(a kind of structure model of the modem narrative poem)which was created by predecessors.

本文试图在对有代表性的文本进行细致研读的基础上，对40年代叙事长诗的叙事艺术与策略进行深入剖析，主要从抒情化叙事、意象化叙事、戏剧化叙事、谣曲化叙事四个层面展开，以发掘、评判其在现代诗歌史上的历史贡献、价值、功能及局限等。40年代叙事长诗中的&抒情化叙事&策略主要体现于&情&与&事&的高度艺术融合，抒情形态表现在抒情结构与抒情语言方面；其抒情策略大体有两种方式：一是诗中人物的自我抒情，一是诗人自己或叙述人的抒情。40年代叙事诗人进一步发展了前人创造的&情绪型&叙事诗这种现代叙事诗的结构模式。

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。