诗意

Such aesthetic experience of perfection is derived from their much too comfortable life reality as only--children. Her paintings, however, are not limited to the blissful paradise of the current world, and, they seem to be description of the different lives of the generation, even with a poetic and philosophical tragedy in addition to a quasi-religious tragic sense.

这种完美的美学经验是在独生子女一代的优越感成长中形成的，但她的画面并没有仅仅是描绘一种天堂般美好快乐的世界，而似乎试图描绘这一代人的存在困境，甚至某种带有哲学悲剧色彩的诗意境地，以及一种准宗教式的悲剧感。

The night was dark, the dawn side of the wind, poetic calling.

夜已深，黎明在风的那边，诗意地召唤。

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。

So we call her "Three-foot".

它看起来就像一个巨大的脚丫，所以我们就叫她&三丫&，而它的发音在中文中近似于&三亚&，因此，我们就将这充满诗意的名字———&三亚&给予她。

The scroll actually shows more: the gentle swaying of water plants under the water, falling leaves slowly passing by your eyes, occasional rippling making the sky, the building, and the willow trees look as if they were full of power of life, suggestive of poetry and changeability. When the weather is cold and the ground is frozen, the scroll will also throw on an obscure veil, to hide everything. Sometimes however, quite unexpectedly, a light boat will swing out, so that you get surprised as if your observation of the world has been so negligent.

从这画卷中能看到的其实更多：幽幽地水草在水中招摇、漂落的树叶在眼前缓缓滑过，偶尔泛起的阵阵涟漪使得那天、那建筑、那柳树充满了生命的动感，变得奇幻且有诗意；天寒地冻的时候也会披上朦胧白纱，把一切都收藏起来；在你冷不防之际，荡出一叶轻舟，让你惊觉原来对世界的观察是如此的大意。

Years ago, Li-lei was a member of the art movement for Shanghai 'corner of print', and his print series "Sun Birds" and his oil painting series "Moon Snake" short after while have the obvious expressionism style, meanwhile, and the aesthetic core and artistic structure of these works have the affectionately poetic implication.

早在整整20年前，他作为上海&版画角&艺术运动的成员之一，在他创作的《太阳鸟》版画系列，以及在其后不久创作的《月亮蛇》油画系列中，在风格样式上已带有较为明显的表现主义意味，而且其审美内核及意趣营构，也已蕴藉着脉脉含情的诗意。

This short poem of no more than six lines effectively describes through a short poetic dialogue the scene of a storm-swept garden in autumn.

这短短的不超过六行的诗词，生动形象地通过一个简短诗意的对话，描绘了秋季一场暴风雨袭卷卷花园的景象。

With this embodiment, he merged the lively snap shots with the portrait shooting, combined the true reality with non-realistic poetry, and inserted the subjective intentions directly into the objective real scene.

以此&化身&为纽带，他将生动的抓拍瞬间与修饰过的摆拍结合在一起；将现实的真切与非现实的诗意结合在一起；将主观意图的元素，直接安插在客观的现实景象中。

Regardless of success or failure in life can be poetic by virtue of its home site in this land.

无论人生的失败者还是成功者，都可凭借它诗意地盘居在这大地上。

These never diminished him as a performer but on the contrary, were a luxury that only the true artist can allow himself when he is concerned with poetry and deep feelings, and not with the showing-off of finger dexterity.

这些从未贬低他演奏者的身份，正好相反，这是只有真正的艺术家在关注诗意和深沉的感情，而不是炫耀手指的灵巧时才能拥有的一种奢侈。

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。