虚构的

Myth and art are interknit from their birth. The first, myth and art all are fictions. The second, myth has double structures of conception and sensibility, theory and art. The third, be related to the characters of mythical thought, myth had unified intuitive images and feelings, but feelings of myth is different from that of art. The forth, feelings of art have a character of associability.

神话和艺术从生成始就是有着密切的联系的：首先，神话和艺术一样都是一种虚构；其次，神话具有概念和感性、理论和艺术的双重结构；再次，与神话思维的特征相关，神话具有直感性与情感的统一性，但是神话中的情感不同与艺术中的情感；第四，神话情感有交感性的特点。

The thesis describes the autobiographic narrative from two aspects: First, fictitious world is the deformation from true world; Second, in Miranda serial novels, there is some resemblance between fictional world and true world. And the narrator and personage are the same only in the name.

本文从两个方面来论述小说的自传性叙事：一、亲自见闻性小说中的世界是真实世界的变形；二、"米兰达"系列小说中的虚构世界与真实世界的相似性以及叙述者与人物只是在名字上的同一。

However, the rigidity of Dahl's fictional worlds, and the intensely physical nature of the violence in his books, can be brutal for young readers.

然而，僵化的达尔的虚构世界，以及激烈的物理性质的暴力事件在他的书籍，可以非常残酷的年轻读者。

Legal fiction is a decisive fabrication for the unconformable application of law in practice about conviction,which is on the essential basis.

法律拟制作为法律上的一种决断性虚构，立法规定的目的是为了解决司法实践中某些似是而非的犯罪的法律适用问题，它的存在有其内在的根据。

Legal fiction is a decisive fabrication for the unconformable application of law in practice about conviction,which is onthe essential basis. There is a rule on uncompleted offense of transformation robbery in No.

法律拟制作为法律上的一种决断性虚构，立法规定的目的是为了解决司法实践中某些似是而非的犯罪的法律适用问题，它的存在有其内在的根据。

Such self-mockery and ambiguity appears as a virtual attitude in his works. The colors are dim and the expressions, in particular their eyes, are moving and hesitant. But all the faces and bodies express a sexy message, which makes the figures confident, despite their expressions.

这种自嘲式的暧昧态度，在他的作品中就表现为一种貌似虚无虚构和虚拟的语气，画面的颜色犹豫朦胧，人物表情、特别是眼神飘忽散乱不够坚定，但所有的面孔和身体都流露出性感的信息，是这种信息而非表情，使画中人物充满自信。

This consciousness is emphatic, as against the figments of a fallaciously abstract reason, in asserting the self-subsistence (and at the same time the finitude) of our being, ie it declares that we are independent inasmuch as we are truly persons or selves, not mere attributes or adjectives, while at the same time, by exhibiting our manifold limitations, it directs us to a higher Cause on which our being depends.

这种意识是有力的，对的虚构之事的fallaciously摘要原因，在主张自我的生活（以及在同一时间的有限性），我们正在，即宣布，我们是独立的，因为我们是真正的个人或自我，不只是属性或形容词，同时，通过展示我们多方面的限制，引导我们走向一个更高的原因是我们正在依赖。

Novel, the author appear at the beginning of the volume,"Introduction "There's Note:" Li Zi Cheng is a central figure in the novel, I have in shaping the image of his hero, in character, largely based on his own deeds in the prototype, but other characters will also be the ancient qualities and talent to his focus on body, a lot of moving fictional plot, so that the image of his plump and typification."

小说作者在一卷卷首的《前言》有个说明："李自成是小说中的中心人物，我在塑造他的英雄形象时，在性格事迹方面基本上根据他本人原型，但也将古代别的人物的优秀品质和才干集中到他的身上，虚构了许多动人的情节，好使他的形象丰满而典型化。"

Actually, Gao Bo has sunk into a gap characterized by hazy and imagistic rustic scenery, but at the same time he is experiencing another journey on his canvas: going against the lively and bright games of realism towards chaos, like the chess-piece erect people in his paintings. In this move towards chaos, Gao Bo's canvas becomes an absurd curtain opening on history - a portal opening to a time maze.

其实，在高波沉溺于漫不经心地虚构田园景色的间隙，同样他也在自己的画布上体验了另外一种精神的游历，从热闹醒目的现实游戏中逆向而行，如同那些伫立的棋子似的人物走向混沌，象荒诞的历史帷幕，既是沉落的黄昏，也是开启时间迷宫的魔洞。

The patients I write about are composite creations, actual patients sometimes serving as springboards for fictional portraits that may include auto-biographical takes on the poet and his own family.

我在诗中所描写的病人都是创造出来的复合型人物，有时候我也把真实的病人当作进行诗歌人物创作的出发点。这种虚构人物身上也往往存在诗人及其家人的影子。

Plunder melds and run with this jewel!

掠夺melds和运行与此宝石！

My dream is to be a crazy growing tree and extend at the edge between the city and the forest.

此刻，也许正是在通往天国的路上，我体验着这白色的晕旋。