自我表现

Participants showed the lowest flexible action in their conflicts with distant eldership, the highest self-restrained action in conflicts with close eldership, the higher egoistic action in conflicts with distant compeer and eldership.

同时，中庸的圆滑性，克己性和自我性在四种冲突情境中有不同表现，其中圆滑性在疏远长辈关系中表现最低，克己性在亲密长辈关系中表现最高，自我性在疏远关系中表现显著低于亲密关系。

The first is a discussion of "anxiety" and "depressing memory" from the level of psychology, spirit and culture, which are regarded as both obstacle and impetus of self-identity. Next is self-identity's image cast upon intimate relationship, that is, Electra complex, Oedipus complex, homosexuality and heterosexuality among women. The last is an analysis of narcissism that is the source and result of the above intimate relationship, which from individual narcissism to a age's or cultural narcissism, that is from sub-consciousness to historic scene, directly results in the plight of women writers and their writings.

首先对作为自我认同的障碍和动力因素的"焦虑"和"创伤性记忆"进行了心理、精神和文化层面的论析；其次对自我认同在亲密关系建立上的具象投射进行了分析和论证，即女性自我所表现出来的恋父情结、恋母情结、同性恋情结和异性恋，并指出其在女性写作发展中的历史表现；最后对作为以上亲密关系的根源和结果的自恋情结进行了分析，从个人的自恋到时代和文化的白恋，即自恋的从潜意识场景到达历史场景，直接造成了女性写作者和女性写作本身的困境。

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。

In particularization KIBS firms, the levels of self-leadership and boundary penetrability are positive related with innovation performance, but just self-leadership degree is related with innovation performance when it happens in standardistion KIBS.

在定制化KIBS企业背景下，结构的自我管理性和边界渗透性对创新绩效具有显著影响，创新组织表现为高度自我管理与边界渗透的结构特征；而在标准化KIBS企业背景下，仅自我管理性水平表现出对创新绩效的显著影响。

The students in the sports groups had better psychological self,social self,self satisfaction and self-action than the average students.

通过参加课余训练队、体育社团和普通学生组之间自我概念各维度的对比分析，结果显示：参加课外业余训练队的学生在生理自我、社会自我、自我认同和自我行动4个维度上，得分显著高于普通组学生；参加篮球、跆拳道、铁人三项和田径业余训练项目的学生在自我概念各维度表现上存在差别，其中，球类项目对自我概念促进最明显；参加体育社团学生在心理自我、社会自我、自我满足和自我行动4个维度上优于普通组学生，存在显著性差异；经常锻炼组在生理自我、心理自我、自我认同和自我行动上要优于不锻炼组，两组存在显著性差异。

Starting from "self-searching", women's writing in a new era reveals a strong tendency toward self-identity, and in their writing series has presented a transformation of self-identiy, evolving mode, inner-spiritual track and multiple narrative style during different period. That is to say, their writings have shown congruity in logic in the aspects of social, spiritual and aesthetic values.

以"寻找自我"为起点的新时期女性写作表现出强烈的自我认同趋向，并在其写作序列中呈现为不同时段的自我认同衍变模式、内在精神轨迹以及多元叙述形态的转换，即在社会价值取向、精神价值取向和审美价值取向三个层面表现为彼此一致的逻辑关联。

A generation after that, Immanuel Kant argued that human beings could never know reality as it is in itself but only their own mental representations, but, since these representations had a common source, each person's experiences were coordinated with the mental representations of all the others to produce what he called the phenomenal world.7 In the early Twentieth Century, the founder of phenomenology, Edmund Husserl, was more solipsistic.

有一个时代过去，康德争辩说一个人永远无法靠自我的精神表现知道真实，但是，这些表现都有一个共同的源头，每个人的经验都和其他人产生的精神表现同等，我们叫那知觉世界。7 在12世纪早期，现象学的创始人，埃德蒙特·胡塞尔，更为自我中心。

So, this paper will discuss them in three chapters.In Chapter I, the paper starts from Xiao Hong's "complex of loneliness", discusses her childhood, marriage and social life, rootles the real reason which oppresses her free soul: the life without voice and ego. Chapter II starts from her unique writing mode, discusses how she found the way to emit her own voice, say her own words, and also about her animadvert on sex discrimination and her discover of the common people's hard life. In this chapter, it also involves several images, which represent the hard life condition of the common people. Chapter III discusses several groups of unique images such as "the back garden", which represent the spree and release of free soul. It shows Xiao Hong's permanent longing for freedom,"love and mildness".

基于此，本文着重从这两方面出发，分三章作如下探讨：第一章，从萧红的&寂寞情结&入手，分别就其童年生活、婚姻生活、社会生活三方面论述萧红自我声音的长期受到压制以至于消解，从而挖掘出导致其自由心灵压抑的真正原因——&无声&的、没有自我的生活；第二章则从她执著于自我的文体形式着手，论述她如何寻求到发出自己的声音、言说自己的话语的方式，并就她对女性艰难境遇的忧患和对普通民众苦难生涯的揭示作了评述，其间，涉及到萧红设置的几组表现民众艰难生存状况的意象；第三章专章论述萧红小说中几组以&后花园&为核心的、表现自由心灵的释放与张扬的独特意象，得出她对自由、对&爱和温暖&永久的憧憬和向往的结论。

While this blog has served my large ego extremely well providing me with surprising opportunities and gratifications over the course of these forty months I have realized that in its present form its further growth is problematic.

虽然此博客服务我的大自我表现极为精彩，给我以惊人的机遇和满意的过程中这些四十零个月，我已经熟悉到，目前形式的进一步发展是有问题的。

It is okay to have ego trip.

满足个人虚荣心或者自我表现也是可以接受的。

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。