警醒的

I thank the gods for giving me such a brother, who was able by his moral character to rouse me to vigilance over myself, and who, at the same time, pleased me by his respect and affection; that my children have not been stupid nor deformed in body; that I did not make more proficiency in rhetoric, poetry, and the other studies, in which I should perhaps have been completely engaged, if I had seen that I was making progress in them; that I made haste to place those who brought me up in the station of honour, which they seemed to desire, without putting them off with hope of my doing it some time after, because they were then still young; that I knew Apollonius, Rusticus, Maximus; that I received clear and frequent impressions about living according to nature, and what kind of a life that is, so that, so far as depended on the gods, and their gifts, and help, and inspirations, nothing hindered me from forthwith living according to nature, though I still fall short of it through my own fault, and through not observing the admonitions of the gods, and, I may almost say, their direct instructions; that my body has held out so long in such a kind of life; that I never touched either Benedicta or Theodotus, and that, after having fallen into amatory passions, I was cured; and, though I was often out of humour with Rusticus, I never did anything of which I had occasion to repent; that, though it was my mother's fate to die young, she spent the last years of her life with me; that, whenever I wished to help any man in his need, or on any other occasion, I was never told that I had not the means of doing it; and that to myself the same necessity never happened, to receive anything from another; that I have such a wife, so obedient, and so affectionate, and so simple; that I had abundance of good masters for my children; and that remedies have been shown to me by dreams, both others, and against bloodspitting and giddiness...; and that, when I had an inclination to philosophy, I did not fall into the hands of any sophist, and that I did not waste my time on writers of histories, or in the resolution of syllogisms, or occupy myself about the investigation of appearances in the heavens; for all these things require the help of the gods and fortune.

我感谢神明给了我这样一个兄弟，他能以他的道德品格使我警醒，同时又以他的尊重和柔情使我愉悦；感谢神明使我的孩子既不愚笨又不残废，使我并不熟谙修辞、诗歌和别的学问，假如我看到自己在这些方面取得进展的话，本来有可能完全沉醉于其中的；我感谢神明使我迅速地给予了那些培养我的人以他们看来愿意有的荣誉，而没有延宕他们曾对我寄予的愿我以后这样做的期望（因为他们那时还是年轻的）；我感谢神明使我认识了阿珀洛尼厄斯、拉斯蒂克斯、马克西默斯，这使我对按照自然生活，对那种依赖神灵及他们的恩赐、帮助和灵感而过的生活得到了清晰而巩固的印象，没有什么东西阻止我立即按照自然生活，然而我还是因为自己的过错，因为没有注意到神灵的劝告（我几乎还可以说是他们的直接指示）而没有达到它；我的身体置于这样一种生活之外如此之久，我从未达到本尼迪克特或西奥多图斯的高度，但在陷入情欲之后，我还是被治愈了；虽然我常常达不到拉斯蒂克斯的那种气质，但还是没有做过使我悔恨的事情；虽然我母亲不能尽其天年而终，但她最后的年月是与我在一起的；在我希望帮助任何需要帮助的人的时候，或在任何别的场合，我都不感到我缺乏这样做的手段；而对我自己来说却不会有同样的需要：即需要从别人那里得到的东西；我有一个十分温顺、深情和朴实的妻子；我有许多优秀的教师来教育我的孩子；通过梦和其他办法，我发现各种药物来治疗咯血和头昏……当我有一种对哲学的爱好时，我没有落入任何诡辩家之手，没有在历史作品上，或者在三段论法的解决上浪费时间，也没有专注于探究天国的现象；而上面所有这些事情都要求有神灵和命运的帮助。

On the poetics level, using a irrational female-genesis to self-explaining; using a "body-writing" as a self-domination, making a self-realization by ways of "dark","blood","death", such as those feminine imagination; making a self-represent ion by "monologue". On cultural consciousness level, takinga self-searching on reconsidering woman's status and ending in love; taking a self-awaking by showing what a mother had "done" for daughter in order to serve and maintain man society; introducing a self-remolding through recover and rebel the man ideology; be self-awakening and oppugning the man-centre society, within its cultural "make","assimilation" to female herself.

本文从两个方面来集中分析《女人》显示出的的&女性意识&：在诗学审美形态上，以非理性的女性&创世神话&题材来解释&自我&；以&躯体写作&的方式来支配&自我&；以&黑夜&、&血&、&死亡&等&阴性意象&来认识&自我&；以&独白&的方式来表达&自我&；在文化意识形态上，以对爱情中女性地位和结局的重新思考来寻找&自我&；以&母亲&对&女儿&的&塑造&来揭示&母亲&作为男权社会的&服务者&和&维护者&形象达到警醒&自我&；对男性文化意识形态的还原和反叛来解构男性中心文化并重铸&自我&；在辨认&自我&的觉醒中将质疑引向对男性中心社会及其所预置的文化秩序和&被造&、&被同化&的女性自身。

The thesis think Tie Ning female identity experience poem ego, female ego, reasonableness ego of continuously mature development process,Tie Ning molded to take"fragrant snow" as to represent by poem of beautiful and artistic young girls, remeding the defent of female narration. After mid–80s, Tie Ning with mightiness of the female consciousness carried out to cross and surmount of the female's rightness by the female's review of ugly and appreciate beauty by duble variation. Which is the make–up of what Zhang Jie and Zhang Xin Xins novels neglect to female's essence life, It is also the watchful to Lin Bai and Chen Rans which excessively sinked in a female. In the new century, Tie Ning's stupid flower embody the tendency of the female return to the spirit of new time and great words, Indicate new century female literature is a important change of appreciate attitude.

论文认为，铁凝女性身份的认同经历了诗性自我、女性自我、理性自我的不断成熟的发展过程：铁凝以诗性自我塑造了以&香雪&为代表的美仑美奂的少女群像，弥补了新时期初期深陷男权文化中心的女性写作的匮乏；80年代中期以后，铁凝以强烈的女性自我意识在审丑与审美的双重变奏中实现了对女性自我的超越，既是对张洁、张辛欣们忽视女性本体生命欲求的弥补，也是对林白、陈染们过度陷于女性偏执的警醒；在新世纪，铁凝的《笨花》体现了女性意识叛逆后回归新的时代精神和宏大话语的趋向，预示了新世纪女性文学审美态度上的重大转变。

Neighbor bean bean dragon (《dragon cat 》)》make us return to carefree of childhood ages;《The city of the sky 》took us to carry on to look for air to float an island at a time of adventure of trip;《Thousand with thousand look for 》related an ordinary girl toward people of extraordinary experience and growth process;《The princess of the phantom 》and 《the valley of breeze 》then let our Jing come to:Mankind to environment of break such of very, but the nature resist this kind of break of conflict again is such horrifying ……have the most delightfully fresh appearance in his work, the most gorgeous color, most pure really smile, the most distant of imagination, most romance of artistic conception, also have superior the United States moving music ……the work content of temple Qi Jun abundant, bear pondering about, each look over will have dissimilarity of feeling.

邻居豆豆龙》使我们回到了无忧无虑的童年时代；《天空之城》带我们进行了一次寻找空中浮岛的冒险之旅；《千与千寻》向人们讲述了一个平凡女孩的不凡经历和成长过程；《幽灵公主》和《风之谷》则让我们警醒：人类对环境的破坏如此之甚，而自然界反抗这种破坏的斗争又是如此惨烈……他的作品中有着最清新的画面，最绚丽的色彩，最纯真的微笑，最辽远的想象，最浪漫的意境，还有最优美动听的音乐……宫崎峻的作品内涵丰富、耐人寻味，每看一遍都会有不同的感受。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。