自觉的

On the poet's choice, mainly be decided by two standards, one is the popularity and influences of works; two is the meaning of the creations development that it create for the whole colony. Owing to above two standards, the writer chooses seven writers to launch the treatise, they are Jidi Maja, Jimu Langge, Luwu Laqi, Ma Deqing, Aku Wuwu , Asu Yuer, Eni-Mushashijia. In discussing the process, the writer used the nationality and Poetics of the poem as the latent clues, emphasized to inquiry into three main roads and three main realms. On the article structure, the full text mainly is divided into two parts, one is the concrete imago analysis to each poet creations, two is upon the analytical foundation the integration of the theories, with this the treatise could be united into an organic whole. In regard to the conclusion, we educe the characteristics of the colony is deep consciousness to the nation culture, also extensive exploration and attention to poetics. The blemish is the inside emotion and sensibility is similar or duplicate and that the creation pattern is narrow. The main develop threads of the colony are upon the female clan culture the diverse poem skill investigation, its nation culture value tropism present the rising spiral type of return- leave- return again.

在研究方法上，本文以意象分析法为贯穿全文的主要方法，通过对意象的具体分析来透视凉山诗群的诗歌世界；在诗人的选择上以其作品的影响力及意义为标准，选择了这一诗群的七位诗人展开论述，他们分别是吉狄马加、吉木狼格、倮伍拉且、马德清、阿库乌雾、阿苏越尔、俄尼·牧莎斯加；在论述过程上，笔者以诗歌的民族性和诗性作为前后贯穿的潜在线索，着重探讨了这一诗群创作的三个主要倾向和三个主要领域，前者详论，后者略述，具体表现在对前三位诗人的论述以诗人论的形式详细展开，探讨他们所代表的凉山诗群发展过程中的三个主要创作倾向，即民族文化的深层开掘、诗艺的实验性探索和艺术哲学的尝试性建构，对后四位诗人的论述则以主题的方式展开，探讨他们所代表的凉山诗群在爱情诗、乡土诗和文化诗三个领域的探索；在文章结构上，全文主要分为两大板块，一是对各位诗人创作的具体意象分析，二是在前文分析的基础上进行理论的整合，以此将前面散珠似的论述贯穿成一个有机整体；在结论上，我们通过整合得出：1、凉山诗人群新时期以来诗歌创作的大致发展脉络：在母族文化的基质之上的多元诗艺探索，其民族文化价值取向呈现为回归—离去—再回归的螺旋式上升形态；2、新时期彝族凉山诗人群汉语诗歌创作的特点，即民族文化意识的深层自觉，对诗性的关注和探索；3、新时期彝族凉山诗人群汉语诗歌创作的缺陷，即情感意蕴的雷同和创作格局的狭小。

It is the autonomous complex that leads the author to go beyond his limitations and to reflect a deeper collective unconsciousness. Faulkner"s novels and their respective themes are closely connected with the inferiority complex caused by American culture, the author"s physique and his living conditions. They are the results of his inferiority complex that accumulates into some kind of superiority complex. Because of the southern Americans special history and politics and his sufferings Faulkner is deeply absorbed in the southern wasteland and invented Yoknapatawpha County, making it a place where he can do whatever he wants to do to counteract the lack in his real life.

第二章从福克纳创作的心理动势出发，对作者的创作发生及其创作的心理轨迹进行跟踪，认为，福克纳的创作中有一种不为创作者的自觉意识所完全控制的直觉领悟的心理倾向，正是这种自主情结引导作者超越个人的局限，遨游于个人利害的范围之外，反映了超个人的、更为深邃的集体无意识，从而创作出了具有永恒艺术生命的作品；福克纳的小说创作及其相关主题的发生，在一定程度上与作者由于在文化、形体以及生活环境等方面的劣势而产生的难以排遣的自卑情结密不可分，是自卑情结积聚成优越情结，进而过分补偿的结果；同时，由于美国南方特殊的历史、政治及福克纳的生活遭际等原因，福克纳在几十年的创作生涯中，情系荒原，创造了约克纳帕塔法县这个精神王国，使之成为自己的精神浪游之地、欲望宣泄之乡和心灵托付之所。

Starting with the developments of the author\'s creation, the dissertation follows up the scent of the occurring of his novels and the\'track of his psychology of creation, holding the opinion that there exists an intuitive psychological tendency in Faulkner\'s creation which the author is not aware of. It is the autonomous complex that leads the author to go beyond his limitations and to reflect a deeper collective unconsciousness.Faulkner\'s novels and their respective themes are closely connected with the inferiority complex caused by American culture, the author\'s physique and his living conditions. They are the results of his inferiority complex that accumulates into some kind of superiority complex.Because of the southern American\'s special history and politics and his sufferings Faulkner is deeply absorbed in the southern wasteland and invented Yoknapatawpha County, making it a place where he can do whatever he wants to do to counteract the lack in his real life. He concerns himself not only in the description of the Southern spiritual wasteland, but also in mining the aesthetic meaning of the wasteland, both to him and to the human beings.

本文首先从作者创作的心理动势出发，对作者的创作发生及其创作的心理轨迹进行跟踪，认为，福克纳的创作中有一种不为创作者的自觉意识所完全控制的直觉领悟的心理倾向，正是这种自主情结引导作者超越个人的局限，遨游于个人利害的范围之外，反映了超个人的、更为深邃的集体无意识，从而创作出了具有永恒艺术生命的作品和崇高的美学景象；福克纳的小说创作及其相关主题的发生，在一定程度上与作者由于在文化、形体以及生活环境等方面的劣势而产生的难以排遣的自卑情结密不可分，是自卑情结积聚成优越情结，进而过分补偿的结果；同时，由于美国南方(来源：A6c8cBC论文网www.abclunwen.com)特殊的历史、政治及福克纳的生活遭际等原因，福克纳在几十年的创作生涯中，情系荒原，创造了约克纳帕塔法县这个精神王国，使之成为自己的精神浪游之地、欲望宣泄之乡和心灵托付之所，其创作动因在于既关注对南方人们精神荒原的描绘，也着眼于挖掘这个荒原世界对自己、对人生的美学意义所在。

Starting with the developments of the author"s creation, the dissertation follows up the scent of the occurring of his novels and the"track of his psychology of creation, holding the opinion that there exists an intuitive psychological tendency in Faulkner"s creation which the author is not aware of. It is the autonomous complex that leads the author to go beyond his limitations and to reflect a deeper collective unconsciousness.Faulkner"s novels and their respective themes are closely connected with the inferiority complex caused by American culture, the author"s physique and his living conditions. They are the results of his inferiority complex that accumulates into some kind of superiority complex.Because of the southern American"s special history and politics and his sufferings Faulkner is deeply absorbed in the southern wasteland and invented Yoknapatawpha County, making it a place where he can do whatever he wants to do to counteract the lack in his real life. He concerns himself not only in the description of the Southern spiritual wasteland, but also in mining the aesthetic meaning of the wasteland, both to him and to the human beings.

本文首先从作者创作的心理动势出发，对作者的创作发生及其创作的心理轨迹进行跟踪，认为，福克纳的创作中有一种不为创作者的自觉意识所完全控制的直觉领悟的心理倾向，正是这种自主情结引导作者超越个人的局限，遨游于个人利害的范围之外，反映了超个人的、更为深邃的集体无意识，从而创作出了具有永恒艺术生命的作品和崇高的美学景象；福克纳的小说创作及其相关主题的发生，在一定程度上与作者由于在文化、形体以及生活环境等方面的劣势而产生的难以排遣的自卑情结密不可分，是自卑情结积聚成优越情结，进而过分补偿的结果；同时，由于美国南方特殊的历史、政治及福克纳的生活遭际等原因，福克纳在几十年的创作生涯中，情系荒原，创造了约克纳帕塔法县这个精神王国，使之成为自己的精神浪游之地、欲望宣泄之乡和心灵托付之所，其创作动因在于既关注对南方人们精神荒原的描绘，也着眼于挖掘这个荒原世界对自己、对人生的美学意义所在。

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 writer chose representative poets' works to launch the treatise, owing to the popularity and influences of poems.The full text was divided into five parts, the first part reviewed the achievements of minority Chinese language poem; the second part analyzed the imago of the poem and explained the deep artistic connotation; the third part emphasized to analyze Jidi Maja's poems, which represented the Yi's poem at Cold Mountain and Liemei Pingcuo's poems, which represented the Tibetan poem. The fourth part discussed the innovation of minority poet about the poem pattern and artistic personality, commented on pioneer poets' conception and practice, and the attention to soul of the minority female poets. The fifth part pointed out the limitations of the new period national minority poem.

本文具体分为五个部分：第一部分从民族意识的自觉和自审，诗美建构的探索与实践等方面综论少数民族汉诗的创作成就；第二部分为精神原型的诗意体现——意象系统分析，分别从原型意识的现代演绎和宗教神性家园的守望等角度分析诗歌意象，阐释深层的艺术内涵；第三部分着重分析以吉的马加为代表的凉山彝族诗歌，以列美平措为代表的藏族诗歌，****其作品对民族灵魂的传承和文化内涵的重构；第四部分探讨少数民族诗人关于诗歌范式与艺术个性的创新，评论先锋诗人的诗歌理念与实践，少数民族女性诗人对心灵的观照；第五部分通过整合得出新时期少数民族汉语诗歌创作存在的局限，指出汉化和西化倾向导致本民族文化特色的缺失。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的"表现"观念的历史考察着手，归纳出西方现代"表现"观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在"表现"观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的"否定性物象"来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

Also just because of this, only when the united proletarian hold the real property and the highly generally developed productive forces, thus formed the real collective, eliminated the social class, eliminate the national: the kind of false collective pseudomorph, thus eliminated the private ownership, re-established"worker's individual system of ownership";Thus eliminated the force spontaneous division of labor, established the conscious division of labor; thus eliminated the nature of employment work , caused the physical production work to be consistent with the self-activity, caused the work to become people's first need; thus eliminated individual regional existence, made individuals become"world history individual"did we say only then by that time it can realize"the free individuality"truly; only then by that time, it can realize the independent individuality, free and comprehensive development of"every individual"; only then by that time the human society can achieve the ancient society's higher regression.

也正因为如此，只有联合起来的无产者通过真实的财产占有和高度而普遍发展起来的生产力；从而形成真实的集体，消除阶级、国家这种虚假的集体的假象；从而消除私有制，重新建立"劳动者的个人的所有制"；从而消除强迫的自发的分工，建立起自觉地分工；从而消除劳动的雇佣性质，使物质生产劳动同自主活动相一致起来，使劳动成为人们的第一需要；从而消除了个人的地域性存在，成为"世界历史的个人"；只有到那时，才可以说真正实现了"自由个性"，也只有到那时，才可以实现了"每一个个人"的个性独立、自由而全面的发展；也只有到那时，人类社会才真正达到了古代社会的更高意义上的复归！

You will understand what I mean by COMPLEXITYby noting these three aspects. Firstly, it refers tothe complexity in form. When CAD becameinvolved in the design process Architect's wereenabled with a higher level of control over evermore complex geometry. Consequently it canand will generate infinite possibilities in the futurefor form finding, which has shifted in emphasis asa more logical design process based onsystematic theories away from intuitive designtechniques. Secondly, it illustrates our growingsocial complexity. As technologies allow peopleto send and receive more information than before,in ever shorter time frames, the function ofarchitecture and urban space will increasinglybecoming ambiguous. Emergent, adaptive andtransformable spaces are replacing limitedfunction spaces gradually. Even a single spacewould afford more potential functions. Lastly, Iam referring to the complexity of collective design team organizations working on different projects.The fact is that our social work division is moreintricate and variegated today; Architects mustby necessity negotiate with governmentalauthorities, material suppliers, engineeringconsultants, quantity surveyor, contractors,planning authorities, landscape architects, interiordesigners, acoustical engineers, et cetera besidesjust our clients. Meanwhile, projects and designteams tend now to be a globally dispersednetwork. All of these things are challenging theconventional architectural practice, it'sorganization, and administration significantly.

Complex可以从3个层面上理解：首先是指设计形式上的复杂性，即引入计算机数字化技术后，建筑师可以设计和控制更高级、更复杂的几何形体，而不是简单地发挥计算机复制、粘贴的画图优势，让计算机真正参与到设计过程中，带来更多设计形式上的可能性（需要指出的是，这种形式上的演进已经从开始的直觉行为转成由系统理论指导的理性应用）；第二，是指与社会学相关的复杂性，科技让人们更多更快地接受和传递信息，建筑和城市空间的功能性变得越来越模糊，无法预知，随时间调整自身、不断变化的空间正在不自觉地逐步取代原有功能确定的传统空间，或者说一个空间要承受比以前晰释复杂性ARTICULATING COMPLEXITY多得多的功能要求；最后，是指在一个建筑方案内团队组织的复杂性，社会分工越来越详尽，建筑师要面对的除了甲方和使用者，还有政府权力部门、材料供应商、工程技术部门、合同签约顾问、城市规划部门、景观设计师、室内设计师、音响设计师等等相关的合作单位，同时，在项目和设计职员的地域分布上更趋向全球化，这些都带给建筑事务所内部管理和组织上前所未有的复杂性。

First, to take ideology as a weapon was the starting point of the revolutionary drama-"the Left Drama"while to pay attention to human and the conflict between human and the society, which led to the probation of the connotation of the conflict consciously was the core of sub-current realism. Second, the main current realism had a strong revolutionary"proletariat"aim and political sense-objective sense while the sub-current realism focused on people and setting up characters. Third the main current realism laid too much emphasis on the sense of mission of its time which led to the tendency of formulizing and generalizing while the sub-current realism paid attention to the firm objectivity and to imitate life as their aesthetic ideal, and as a result the sub-current realism produced vigorous works. CHAPTER 4 Realistic Chinese modern drama experienced a hard and winding way of development. It was even worse after the People Republic of China was established.

本章还从三个基本方面入手，论述了主流的现实主义与非主流的现实主义内质的差异与不同的发展趋向，即作为一种武器的思想是主流的革命现实主义中&左翼戏剧&的出发点，与注重人与命运、人与现实的冲突，从而自觉追求冲突内涵的挖掘是非主流现实主义的核心；主流的革命现实主义中&普罗列塔利亚式&强烈的革命目的&目的意识论&与非主流现实主义的倾心于人物、注重人物塑造的审美原则；主流的革命现实主义所强调的时代使命感而产生的公式化、概念化倾向与非主流的现实主义所注重的客观性、以摹仿生活真实为审美理想而产生的具有生命力的话剧剧作。

This one mode pays close attention to network credence foundation of the businessman very much.

这一模式非常关注商人的网络信用基础。

Cell morphology of bacterial ghost of Pasteurella multocida was observed by scanning electron microscopy and inactivation ratio was estimated by CFU analysi.

扫描电镜观察多杀性巴氏杆菌细菌幽灵和菌落形成单位评价遗传灭活率。