自我表现

The manipulative person can not trust himself, he could not trust other people as well the manipulator tries to control himself by controlling other because he can't control himself. The most common manipulative behaviors include: intimidates, deceive, self- harm, demands, flatters, ingratiation and so on. The worst part of such behavior is that it will split the health professionals in some way. It also causes conflicts between nursing staff and disturbs the emotional status of them. To avoid these situations, all nursing staff should help patients with consistent attitude. In addition, nurses should master behavior of manipulators to reduce the chance of being manipulated. Helping patients to solve their problems may help build up the sense of trust and security and promote self-control. They will beable to increase recognition of behaviors, mature interpersonal relationship and gain self control.

操控者不会信任自己，更不能信任他人，他无法控制自己，所以由控制他人来控制自己，他们最常表现的操控行为，包括：威胁、欺骗、自我伤害、要求特权、谄媚、迎合他人等，比较严重的是他们会分化整个医疗团队的成员，造成成员之间的冲突及情绪上的困扰，为了避免这些状况产生，所有的成员应该要达成共识，用一致性的态度来帮助病人；另外，护理人员要熟知操控者的行为表现，减少被操控的机会，同时灵活运用问题解决方法，来协助病人对他人产生信任感、安全感及增加对自己的控制感，以达到增加行为的认知，学会成熟人际关系，达到自我控制的目的等预期结果。

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。

Before pregnancy and childbirth, the heroine Rosamund hides herself in the literary tower, becoming a divided self; but after pregnancy and childbirth, she has to communicate with such persons as doctors, nurses and other patients, escaping the literary tower into reality and finally achieves her own spiritual salvation.

女主人公罗萨蒙德在她孕育之前脱离社会，躲在艺术的"象牙塔"里，是一个分裂的自我，象征艺术与现实的分离；孕育之后，她不得不与医生、护士及其他病人交往而结束了封闭的"象牙塔"生活走向现实，从分裂的自我走向完整的自我，完成了精神救赎，表现了艺术与现实的融合。

Among the factors of the whole need for self-esteem the self-attention tendency and self-approval preference seldom connect with other needs, but there is obvious step occurrence, deficient, pursuit from the outside world, and derivation of senior need in the ideal of value and ability and the pursuit to importance; There is similar and more obvious character in the factors of the concrete need for self-esteem, but the self-defence tendency is difficult to derivate senior need.

整体自尊需要因子自我关注倾向和自我认可心向较少与其他需要发生联系，但价值能力理想和重要性追求表现出明显的继发性、匮乏性、外求性和对高级需要的衍生性；具体自尊需要因子与此有相似特性而且更明显，但自我防御倾向难以衍生高级需要。5。

Her special concentration on the self-existence and predicament of herself was showed especially on her ideas of love; but at the same time; the strengthen of self-consciousness also engenders a gloomy sentiment of pessimism and nothingness.

她对自我存在与自我困境的关注特别表现在她的爱情观上。但在同时，莎菲自我意识的增强也使她产生了一种悲观与虚无的灰暗情调。

Four research results in the research are provided on the basis of wholly absorbed attention behavior performance including eyes-gazing, concentration as well as completion of orders, attention-testing performance, and multiple attention-testing performance. The collected materials are analyzed throughvisual analyze and Tryon's C statistic. The results of this research are as follows: 1. Attention-training maintains and give rise to samples' attention behavior. 2. Attention-training makes samples' attention-testing performance better. 3. Attention-training has generalization effects on samples' self-instruction and strategies for monitoring and behavior. 4. Attention-training has different effects on samples of different genders.

本研究以专心注意行为表现、自编注意力测验表现、多向度注意力测验表现及班级教师访谈问卷四项结果作为依据，所得的资料以目视分析法及C统计进行分析，所得研究结果如下：一、三位受试者之C统计值达显著(P1.65)，显示注意力训练对受试者的专心注意行为具有提升与维持效果；二、三位受试者在四项分测验中，有三项测验之C统计值达显著(P1.65)，显示注意力训练对受试者在注意力测验的注意力表现具有提升效果；三、由班级教师访谈问卷分析中得知注意力训练对受试者的自我指导、监控策略与行为具有迁移效果；四、由自编注意力测验结果分析显示，注意力训练对不同性别学生能显现不同的训练效果。

Their differences in form make this effect a complicated process of intersecting and dissociating, attracting and resisting.

日常叙事的风行是对曾经一统天下的宏伟叙事的偏执性反拔，是启蒙神话破裂之后的幻灭叙事，写物主义倾向和日常生活本身的封闭性与重复性使小说的主体性呈现为碎片状态；模糊审美作为叙事风格主要表现为内心光照逐渐黯淡的黑夜主题夺走了叙事者的存在基础，欲望化叙事和表象化叙事闪现着一种遗忘意志，作家相对主义式的犹豫表达模糊了必要的价值分野；小说的新闻化倾向作为一种文体现象，是对快速推进的信息时代和全球性的非虚构化潮流的文化回应，但它所标榜的真实性因为只能停留在表浅层次而显得暖昧和可疑；自我重复是反修辞和反诗学的命题，是指相同的叙事成分在同一作家的不同作品中的机械重复，自我重复有细节重复、情节与结构重复、扩写与改写等表现形式，媒体时代的强制性文化法则、作家的内在缺陷和叙事模式的局限性是其文化根源；反讽与讽刺相比，是一种相对温和却又更具普遍性的文化反抗形式，但九十年代小说的言语反讽、情境反讽和总体反讽都因为主体缺乏内在的价值支撑而陷入虚无，虚伪的反抗成为一种遮蔽现实的屏障；九十年代小说的叙事视角从传统的全知视角转向限知视角，具体表现为旁观视角和窥视视角，这种强调局部性和差异性的视角本来可以成为扩展个人话语空间的正当途径，但由于它们被过分地利用于渲染感官刺激和心理刺激，与大众趣味不谋而合。

As the necessary choice of modern cultural creation, self-conscious symbol design always emerges as a specific cultural creation activity by human dealing with the relation to the outside objective symbolic world under specific historical conditions, which is a functional transcendent activity, a programmed cultural creation activity seeking for concreteness against abstractness, and it is also a cultural creation activity with self-discipline, compatibility, and pre-examination value with the ability of self-reflection, self-criticism, self-transcendence and self-creation, therefore, it is a choice of cultural practice which is helpful for us to guide contemporary human cultural creation according to complex situations and it is also one to further control the future and development trend of our culture.

摘 要：作为现代文化创造之必然选择，自觉符号设计在具体历史条件下总是表现为人处理同外界客观符号世界关系的特定文化创造活动，它既是一种功能性超越活动，又是一种不断寻求具体、反对抽象的程式化文化创造活动，还是一种兼顾自律性、兼容性与预验性价值的文化创造活动。它具备自我反省、自我批判、自我超越、自我创造能力，有助于我们按照复杂情况来引导当代人类文化创造，更好地把握自身文化未来与发展趋势。

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。

Creativity with the expression forms of self-research, self-production, self-protection, self-enjoyment and paid transfer is characterized by subjectivity, ownership, individuality, and monopolity.

自主创新一般表现为自我研发、自我生产、自我拥有、自我保护、自我独享以及有偿可转让性。自主创新具有强烈的主体性、归属性、为我性和垄断性。

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。