自由作家

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。

The free and daring forms, and imaginative and creative techniques and strategies like heteroglossia and pictorialism used by the romantic American writers of fiction have provided the future American and even the world\'s writers with endless artistic inspiration and sources.

这些小说所使用的大胆、自由的形式和充满想象力和创造力的艺术策略如杂语性叙述话语、图像主义等成为后来美国作家和世界其它国家的作家用之不竭的艺术灵感源泉。

The free and daring forms, and imaginative and creative techniques and strategies like heteroglossia and pictorialism used by the romantic American writers of fiction have provided the future American and even the worlds writers with endless artistic inspiration and sources.

这些小说所使用的大胆、自由的形式和充满想象力和创造力的艺术策略如杂语性叙述话语、图像主义等成为后来美国作家和世界其它国家的作家用之不竭的艺术灵感源泉。

Though the invaders wanted to control Beijing's news blackout, imprimatur and literary organization, there still were some free discourse space for the writers who lived in Beijing as well as those lived in Shanghai at the war period. The semicolonial modernism of Beijing school still played an important part in the literary world of Beijing.

尽管侵略者试图在新闻出版和文学组织方面加以控制和渗透，但抗战时期的北京作家与上海孤岛作家一样，也有着比较大的自由言说的空间，半殖民地的京派现代主义依然是北京文坛的主色调。

Firstly, by means of the man'-free-and-overall-development theory of the Maxthium , the author analyzes the Personal Literary Creation and confirms its value and significance as follow:the first,the emergence of the Personal Literary Creation means the vanishment of the laberal alienation ,ie,the personal authors' writings are not only the make-a-living means but the spontaneous displays of the human wills;the second, the Personal Literary Creation confirms "everyone' free development is the condition of all the people's progress",the human-liberating ideals of Marxism,and realises the all-round respects and concerns of the literature to human' diversity and peculiarity. Secondly, standing at the point of the contemprory Chinese history, it is right the individually depressed history in China that makes the Personal Literary Creation as the historical nacessarity. The emergence of the Personal Liberory Creation makes up to the limitation of the traditional public and representitive writing, and makes a great progress to diversifying the multi-cultural pattern in 90's of the last century, expanding the literatural domain, and displaying the complicated human natures.

本文首先运用马克思关于人全面自由发展的理论对私人化写作进行分析和观照，肯定其存在的价值和意义：一是私人化写作的到来意味着劳动异化的消除，作家的创作活动成为生命意志的自由表现，由手段上升为目的本身二是吻合了马克思人类解放的理想"每个人的自由发展是一切人自由发展的条件"实现了文学对人的丰富性、多样性、独特性的全面关怀与尊重；其次立足于当代中国的历史语境，它的出现弥补了一直以来公共化、代言式写作独占文坛的局限，在丰富九十年代的多元文化格局，拓展文学探索和表现丰富复杂的人性深度方面是一个很大的进步。

The thesis is writed, setting its base on the three traditions ( publicanism and liberalism and mentalism) and referring to the ideal lines of positive liberty and negative liberty, it analyses the course of transfer of liberalism theory and the theoretical essential in some works of its typical writer; reviews the statements on economic freedom by Marx.

文中基于自由的三个理论传统：共和主义的传统、自由派的传统、唯心主义自由传统，遵从积极自由和消极自由等思路，分析了经济自由主义的理论变迁过程和一些代表作家的理论实质，回顾了马克思主义对经济领域自由的表述，运用马克思主义唯物辩证法，历史地分析经济领域自由的阶段性发展，得出了一些富有新意的思想。

Tolnay believes that while Bruegel was living in Antwerp he was in contact with a group of geographers, writers, and artists called "the Libertines"--not rakes, but " liberal spirits , tolerant on questions of faith, enemies of confessional fanaticism, with a Stoic ideal of life, founded on the great belief in the moral dignity of the free man."

Tolnay认为，勃氏居安特卫普期间曾与一群地理学家、作家和艺术家过从甚密。他们&有着自由奔放的思想，宽容对待信仰问题，与忏悔狂热分子为敌，是斯多葛式唯心主义者，崇尚自由意志下的道德尊严&。但他们不是登徒浪子，而是&自由思想者&。

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。

"Freelancing is fine," he said loudly, but you need security.

&做自由作家是好，&老爸大声说，只是不稳定。

I had just submitted my first freelance article for one of the most relevant and provocative magazines on the newsstands today,at least to me.

我刚刚交上去我的每一份以自由作家身份写作的文章。这篇文章是写给今天的杂志摊上一家最切合题意也是最能令人感到兴奋的杂志，至少对于我来说是这样的。

Do you know, i need you to come back

你知道吗，我需要你回来

Yang yinshu、Wang xiangsheng、Li decang,The first discovery of haemaphysalis conicinna.

1〕 杨银书，王祥生，李德昌。安徽省首次发现嗜群血蜱。