虚无

This kind of decorative depiction of details arts the picture up and tallies with the dollish appearance, enhancing its spirit of nihility. It also brings certain readability to the works and makes the painter's pathos and chanting of the youthful life pervade the picture like the background music, letting you unconsciously enveloped in the emotion set by the painter.

这种装饰性的细节描绘，既为画面增加了矫饰性成分，与玩偶式的面相吻合，增强了画面的虚无气息，又为作品带来了一定的可读性，使画家对青年人生的哀婉与咏叹，像背景音乐一样弥漫在画面之中，使你不知不觉为画家设定的情绪所笼罩。

If had been developed by rainwater, clear faint, some feel emptily.

假如被雨水冲过，就清幽幽的，有些虚无感。

The thing that there are any lazinesses in consciousness ", it is disturbed forever with what change, be one kind denies and change emptily, make serve as the person that is oneself thereby " it is its place is not not be its place is , not be what thing always wants to make what thing again forever.

意识中没有任何惰性的东西&，它永远是不安和变动的，是一种否定和虚无化，从而使作为自为的人&是其所不是又不是其所是，永远不是什么东西又总要成为什么东西。

The people and objects floating through Gao Bo's works are without roots - perhaps they come from a momentary memory or a spark of interest. Looking at Gao Bo's works brings pictorial information stored deep in the mind to light, yet within a second these mind-images fade again, leaving behind a memory of all the images that lie underneath Gao Bo's warm and languid sketching. In Gao Bo's consciousness, these images don't stop at realism or simply exposit like some historical legend - in the end they reach towards the fringes of nothingness.These images can call up rich associations in our minds yet often these are false associations. For example, in "Gray Face" this is not the mystical dog of the god Erlang in Journey to the West; the rickety bridge in "River Bed" is certainly not a reference to a rainbow in Heaven; the story of "Contest" is not about two dogs running and pretending to be in love but a story of race dogs controlled by humans.

散漫在高波作品中的人与物没有根源，也许它们是源于个人瞬间的兴趣和记忆，有关知识的、情感的和在脑子里存储的图象信息随之而来，也可以随之而去，只是在温和缓慢的描绘背后还有一丝对所有形象匆匆停留过后的怀念，它们在高波的意识之中并不是一次停留于现实或者历史神话般司空见惯的陈述，它们的结果最终都是通向虚无的边缘，尽管那些形象似乎可以唤起我们丰富的联想，比如《灰色的脸》，它绝不是西游记中二郎神的天犬，在《河床》中不牢靠的拱桥，肯定不是寓指天堂里的彩虹，《竞赛》讲述的故事并不是两只在假装为爱情奔跑的狗，而是被人为所驱使的赛狗。

The flourishing city , number nihility figure viewed from behind, are beginning to wobble under road lamp of weak fan , the field is counting the time step , heavyheartedness rambling in within the midnight at 00:01:01

繁华的都市，多少虚无的背影，开始晃悠在虚迷的路灯之下，一分一秒地数着时间的脚步，在午夜里漫步的忧郁

To the extent of ontology this hidden hurt is more different to discover and reason than the eyes-catching ones----these symbols make people feel more humility after ichnographical procession.

在存在论意义上，这样隐性的伤显然比前面蓝色身体系列中醒目的伤更加隐蔽，更加来历不明——这些符号在图像学上的处理与变化更加让人倍感虚无。

What she onlyneeds is to reveal the misted form of poems.

在这些作品中，也隐藏着她对于自己的经历的感觉和揭示，而那些佛学思想的部分在情欲中的形式感，那些虚无的哲学意味的字句不过是她的一种庶挡，只是她想看到诗歌呈现的迷离形式。

At the same time, as a kind of autobiographical novels, parodic autobiographical novel can not only unrestrainedly fabricate some stories to mold an odd hero or heroine but also freely work out some purely fictitious psychology to serve their own aims.

在自我形象方面，虽然戏谑型自传体小说叙述人将自己塑造成与世隔绝的&我&、分裂变幻的&我&、玩世不恭的&我&、自暴自弃的&我&几种反传统的自我形象，但是这些形象或许只是叙述者用来掩饰真实自我的一种姿态而已，在叙述者玩世不恭的面具下读者也可以窥见一个始终与虚无作战的执着的灵魂。

Poetization counts among its most important characteristics empathy and emptiness, which make it possible to produce multiple authentic translations out of the same original text.

移情和虚无是诗化的重要特征之一，它们展示了同一源语文学文本产生出多种真实翻译文本的可能。

Poetization counts among its most important characteristics empathy and emptiness, which make it possible to produce multiple authentic translations out of the same original text.

移情和虚无是诗化的重要特徵之一，它们展示了同一源语文学文本产生出多种真实翻译文本的可能。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。