语境

The first function be on recognize in deals with the recognizing a word . The , the second were with understanding the words contest word's context in a sentence . And , and the third are tecunating lets us articulate the words word by speaking.

它们的首要功能是识别单词，接着是在句子的语境中理解词义，最后再通过口头表达流利地发出这个词。

One the one hand,"children" has the environment and background, which are specific to themselves. This is unlike the previous image, which is merely some kind of emergence from "darkness". In this way, the works get their own "context" and offer the viewers more evidence to interpret his works, which leaves the picture all the more complex and rich. On the other hand, the image of "children" with closed eyes makes its appearance in the picture besides that of "children" with wide-opened eyes. This new image does not indicate that the communication channel between Peng Jianzhong and his viewers was stopped. One the contrary, it is endowed with the implication of some kind of "introspection".

一方面，&孩子&有了隶属于自己的环境背景，而不是像之前的人物形象仅仅是从&黑暗&中的某种浮现，这让作品拥有了自己的&语境&，也让观赏者拥有了释读作品的更多凭据，由此画面变得更加得复杂与丰富；一方面，&孩子&们除了睁大双眼的之外，还出现了闭目的形象，这一新的形象并非表示出彭建忠与他的欣赏者之间沟通交流的渠道关闭，却具有了某种&内省&的意涵，或许彭建忠已经从先前匆忙中的&拯救&，进而发展为针对人类自身危机处境的深层探究以及&拯救&本身的意义叩问。

One the one hand,"children" has the environment and background, which are specific to themselves. This is unlike the previous image, which is merely some kind of emergence from "darkness". In this way, the works get their own "context" and offer the viewers more evidence to interpret his works, which leaves the picture all the more complex and rich. On the other hand, the image of "children" with closed eyes makes its appearance in the picture besides that of "children" with wide-opened eyes. This new image does not indicate that the communication channel between Peng Jianzhong and his viewers was stopped. One the contrary, it is endowed with the implication of some kind of "introspection". Probably, Peng Jianzhong has switched from the previous hasty "salvation" to the deep exploration into the crisis situation of human beings themselves as well as inquiry into the meaning of "salvation" itself.

一方面，&孩子&有了隶属于自己的环境背景，而不是像之前的人物形象仅仅是从&黑暗&中的某种浮现，这让作品拥有了自己的&语境&，也让观赏者拥有了释读作品的更多凭据，由此画面变得更加得复杂与丰富；一方面，&孩子&们除了睁大双眼的之外，还出现了闭目的形象，这一新的形象并非表示出彭建忠与他的欣赏者之间沟通交流的渠道关闭，却具有了某种&内省&的意涵，或许彭建忠已经从先前匆忙中的&拯救&，进而发展为针对人类自身危机处境的深层探究以及&拯救&本身的意义叩问。

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。

No doubt, Re-Excavate the Contemporary Realism is a converse annotation to contemporary philosophy . Audiences would not only enjoy the visual language, but also taste the trend of contemporary art.

毫无疑问，这个展览在哲学的语言文本下进行着当下的逆思维诠释，在当代语境中似乎合情合理，希望本次展览让你徜徉视觉语言画面的同时，更体味到展览理念的当下性把握！

The second, from the view of theoretic interpretation, sums up the character of imagibility in the cartoon language, the connection between the character and cartoon's visual presentation, as well as the re-recognition of visual sense aroused by the character.

第三章则从动画的受众角度来探讨动画视觉呈现的效果，并将动画置于当下现实语境之中，由动画视象凸显与现实物象的距离的特点入手，探讨动画的视觉世界所产生的实际效用。

White person had a well-settled meaning in common popular speech and in scientific literature" and "were seldom if ever used in a sense so comprehensive to include individuals of the Mongolian race

据此，当时的巡回法官索约尔如此回答：无论在日常语境还是在科学文献中，'白人'都是个约定俗成的字眼，它的外延很少或者从未延伸到包括蒙古人种。

We could find the well-knowing about the history and culture of Chinese homosexuality helpful to get into the research.

华语语境下，尤其是传统文化中对于同性恋文化倾向于中立的反对态度，为华语同性恋电影在叙事和艺术风格上的&暧昧&表达提供可能。

Moreover, humanism in present China can be expressed taking people as the dominant factor under new development strategies.

人本主义在当代中国语境下的表达就是科学发展观所谓的以人为本。

The study leads us to unveil one essential historical fact: as an aesthetic and literary movement, romanticism (either in the English or in the Chinese context) is virtually a product of the so-called project of modernity; however, conditioned by different cultural, social and historical specificities, the romantic movements in the English context and the Chinese context respectively display a different two-sidedness.

通过这种比较研究我们发现了一个基本的历史事实：作为一种文学和美学运动的浪漫主义无论是在东西方语境中都是以主体性原则的确立为核心的现代性工程的产物；但是在现代性工程这一宏大的历史背景之下，中英两国的浪漫主义思潮又因其各自具体的文化、社会和历史等因素的影响和制约而分别呈现出了各自独具特色的两面性。

For a big chunk of credit-card losses; the number of filings (and thus charge-off rates) would be rising again, whether

年美国个人破产法的一个改动使得破产登记急速下降，而后引起了信用卡大规模的亏损。

Eph. 4:23 And that you be renewed in the spirit of your mind

弗四23 而在你们心思的灵里得以更新