荒诞

Hunger, as a root of physical want, makes Mo Yan's writing become sensory with a personal colorful style. As Mo Yan said himself, he wanted to create a kind of "stomach perforation" work based on harsh realism. After some analysis and research, I found that there was a kind of writing style in abjection, sensory imagination, and instinctive bounce in his creation, which forms a kind of hunger satisfied/swell, absurd/violent, reincarnate/magical illusional narrative aesthetics.

而「饥饿」作为生理匮乏的根源，使莫言的创作开展出一种极具个人色彩感官式的书写，诚如莫言自陈的想写出立基於严酷现实主义「胃穿孔」的作品，经分析与研究后，发现在他的创作中确实以一种贱斥化观点、官能式想像及本能式跃动的书写特色，形成一种饱餍肿胀、荒诞暴力、轮回魔幻的叙述美学。

In the mcantime,the main difference between grotesqueness and absurdness is that grotesqueness is qualified with some kind of creating techniques and styles while absurdness is more concerned about implications and conceptions.

怪诞与滑稽的区别主要在于反常程度、创作态度和审美价值的差异上；怪诞与荒诞的区别在于怪诞更多作为一种创作手法，荒诞更主要是一种观念和意识。

"Pieces of Memories"is a series of contemporary images of China and Beijing,which are symbolic,allegoric and seemingly false and real at the same time.It is a real ridiculouansness and ridiculous reality.

记忆的碎片》呈现的是一组"现代的"、"中国的"、"北京的"——象征的、寓意的、虚虚实实的映像——真实的荒诞——荒诞的真实。

Last, this chanter presents a brief introduotior of the western absurd thoughts in the aspects of causation of origins, philosophy meaning and literary creation.

第一章，旨在分析荒诞作为20世纪西方文化思潮在80年代中国文坛引起巨大反响的原因，并对西方荒诞思潮作综合性的回顾。

Jarhead (the self-imposed moniker of the Marines) follows "Swoff", a third-generation enlistee, from a sobering stint in boot camp to active duty, sporting a sniper's rifle and a hundred-pound ruck on his back through Middle East deserts with no cover from intolerable heat or from Iraqi soldiers, always potentially just over the next horizon.

1991年的沙漠风暴行动，记忆中不那么荒诞的一场战争。迅速，高效，正义，没死多少美国人。。但在这部片子里，滑稽乃至荒诞解构了战争。海军陆战队士兵，20岁的大学生斯沃夫和他的战友们，在阿拉伯的沙漠中一个敌人也没遇到。

The main concerns here are:(1) the source of absurdity;(2) the definition of absurdity (its relationship with mystery, ugliness and funniness);(3) the status of absurdity-it is an aesthetic concept which should be a category within aesthetics as wellas elegancy, grandness, farce and tragedy.

荒诞定位，荒诞是一个审美概念，它应该和优美、崇高、滑稽、悲剧等一样，成为美学关注的范畴。

In the description of absurd-resistance, Yan Lianke claims his thought on the meaning of life ontologically and his glorification to the life-force, etc.

阎连科在对荒诞——反抗的描述中，表达出来的那种生命的本体意义的揭示，对生命力的颂扬等，与加缪的反抗荒诞哲思具有惊人的一致性。

On the other side, their view of world and human life, to a certain degree, deviated from the world absurd and unaccountability shown in western novels.

第四章，以马原、洪峰、格非、余华、孙甘露等先锋小说家为例，论述先锋小说形式中蕴含的荒诞哲理，以及作家自我存在方式与之的悖离和面对荒诞的逃避姿态。

His absurd and conflictive works may let many people fall into a logistic maze. However, because of these incredible and uninhibited works, one can feel the sorrows and doubts of a sensitive individual.

艺术家肆意地在形象的世界中锻造自己的影子，荒诞而矛盾的作品会让很多人陷入逻辑的迷宫，但正是这些荒诞不羁的作品却传达着敏感个体的哀伤和疑惑。

On condition that,"the absurd man"s" life is to make the absurdity to be, by protest he made the fate within his mastery. He tried to best shade the possibility about the indispensable death in a passionate way, and veiled the truth of homelessness by lots of things on hand. Then,"the stranger made use of sight of Zu-sein to Sein Zum Tode continually. He discovered atman in the kinds of possibility of Existenz. He was not satisfied with reality when he was abandoned. Instead, he disregarded all of that and admitted his destiny.

如果说&荒诞人&的生活就是使荒诞活着，他用反抗的方式将命运变成人事，用激情的方式试图蒙蔽人死亡的确定可能性，并在不断地操劳和表象中掩盖自己在生存中无家可归的事实；那么&局外人&的方式就是不断用先行到死的眼光&去存在&，在生存的可能性中不断揭示自我的存在，他没有在被抛的状态中安于现状，而是采取漠视一切的方式遗立于世。

Neither the killing of Mr Zarqawi nor any breakthrough on the political front will stop the insurgency and the fratricidal murders in their tracks.

在对危险的南部地区访问时，他斥责什叶派民兵领导人对中央集权的挑衅行为。

In fact,I've got him on the satellite mobile right now.

实际上 我们已接通卫星可视电话了