错觉地

But all grown persons ineffably distrust one another. In courtship, I grant you, there is a passing aberration which often mimics tenderness, sometimes as the result of honest delusion, but more frequently as an ambuscade in the endless struggle between man and woman.

长大后的人们只好身不由己地怀疑彼此…在求爱的时候，我得承认，那短暂的不符常理的行为经常被误认为是温柔的体现，有时是真正出现了错觉导致的，但更多的时候，是源于男人和女人之间那场永无止境的伏击战。

O Arjuna, that which out of delusion, you do not wish to perform, you will do unavoidably, being bound by your inclinations born of your own nature.

阿诸那啊，出于迷茫错觉，你不想行动，你还是不可避免地会去行动，因为那是由你天生的善性所决定的。

As a result of the tension between these two tendencies, the book reviewer has to balance a reassuringly authoritative display of his opinion/attitude with a concernto be accepted by the reader as true or accurate and to show appropriate consideration for the reader on an interpersonal level. All these constitute the complexity of interpersonal meaning of EABR.With various modal expressions, such as modal auxiliaries, modal adjuncts, metaphors of modality, the reviewer tries to mitigate his opinion to claim different degrees of certainty so as to make his writing convincing as well as revealing; He addresses readers as "you" to exclude them from his group and make himself prominent.

书评作者通过各种情态表达(情态动词、情态附加成分、人际语法隐喻等)造成不同程度的确定与不确定，从而使书评既有可信度又体现了对书作者和书评读者的尊重；当书评作者称呼读者为"you"时，他／她突显自己的权威地位，对读者施加影响，给读者一种文章为他而写的错觉，书评作者或者使用'we'在篇章世界中形成把读者向里拉的拉力，使之卷入到书评的语篇情景之中，积极主动地参与到话语活动中来，从而更容易接受书评作者的观点；书评作者直接引用所评之书的内容，从而使书评语言有力，说服性强。

Condemned those who say Christ offered His sacrifice to the Father alone, and not to himself and to the Holy Spirit; those who say the sacrifice of the Divine Liturgy is only figuratively the sacrifice of Christ's body and blood; those who deny that the sacrifice in the Liturgy is one and the same as that of Christ on the cross; those who say men were reconciled to the Son through the incarnation and to the Father through the passion; those who think the deification of Christ's humanity destroyed his human nature; those who deny that his deified human nature is worthy of worship; those who say that, since the human nature of Christ was swallowed up into Divinity, his passion was an illusion; those who say that characteristics of Christ's human nature (creaturehood, circumscription, mortality, and blameless passions) exist only hypothetically, when one considers Christ's human nature in abstraction, and not really and truly.

谴责那些说基督所提供的，他的牺牲给父亲独自，而不是他本人及圣灵；那些说要牺牲神圣的礼拜仪式，只是形象地牺牲了基督的身体和血液；那些否认说，在牺牲礼仪是同一个，因为基督在十字架上；那些说男人得子，透过化身，并给父亲通过激情；那些认为神化基督的人类摧毁了他的人性；那些否认他神化人性的，是值得的崇拜；人士说，由于人性的基督被吞噬成神，他的激情是一种错觉；那些说特色基督的人性（ creaturehood ， circumscription ，死亡率，和无可指责的激情），只存在理论上，当一个人认为基督的人性抽象，而不是实实在在地。

Cupidity, fraud and delusion were obviously part of the great bust.

贪欲、欺诈、错觉，这些都是这次大萧条的重要组成部分，但想到自从意大利文艺复兴运动产生西方金融萌芽以来，经济泡沫就反反复复地侵扰西方金融，如果说，上文提到的因素真的就是泡沫产生的主因，那么，就只能假定，无知躁郁与文明相伴相行。

This thesis will expound this central subject under discussion by the following aspects: The first part of this thesis fully taps the characters of image that shows different schematic style from film and painting by using methods of comparative study and theoretical study and by using methods of contemporary visual culture, such as: iconology, theories of style, semiotics, morphology and so on.

围绕着这个中心议题，论文将以下几个方面进行论述和探讨：第一个部分是通过对动画影像进行比较性甄别，利用比较研究、理论研究以及图像学、风格学、符号学、形态学等当下视觉文化使用的诸多研究方法，充分挖掘影像所显示出来的与电影、绘画等图式风格完全不同的品格特性，并进行归纳与总结，揭示动画品格显现出来的影像风格之图式本性、叙事符码的符号学资质、幻动性的观影错觉以及戏谑性的叙事效果，深入、立体、全面地考察动画的品格形态。

This thesis will expound this central subject under discussion by the following aspects:The first part of this thesis fully taps the characters of image that showsdifferent schematic style from film and painting by using methods of comparative study and theoretical study and by using methods of contemporary visual culture, such as: iconology, theories of style, semiotics, morphology and so on.

围绕着这个中心议题，论文将以下几个方面进行论述和探讨：第一个部分是通过对动画影像进行比较性甄别，利用比较研究、理论研究以及图像学、风格学、符号学、形态学等当下视觉文化使用的诸多研究方法，充分挖掘影像所显示出来的与电影、绘画等图式风格完全不同的品格特性，并进行归纳与总结，揭示动画品格显现出来的影像风格之图式本性、叙事符码的符号学资质、幻动性的观影错觉以及戏谑性的叙事效果，深入、立体、全面地考察动画的品格形态。

I find some embers left as if he had but just gone out, where he baked his pot of beans; and while at evening he smoked his pipe, whose stemless bowl lies in the ashes, chatted with his only companion, if perchance he had any about the depth of the snow on the morrow, already falling fast and thick without, or disputed whether the last sound was the screech of an owl, or the creak of a bough, or imagination only; and through his broad chimney-throat, in the late winter evening, ere he stretched himself upon the straw, he looked up to learn the progress of the storm, and , seeing the bright stars of Cassiopeia's Chair shining brightly down upon him, fell contentedly asleep.

我发现还有一些用来烘焙豆子的余灰，这又似乎说明他仍未走远；我们好像看到晚上他抽着烟，烟斗被放在灰中，他和朋友聊着天，讨论着明天降雪的深浅，或者争论刚才的声响是猫头鹰在叫还是树枝在颤动，抑或是自己的错觉；通过向烟囱外张望，他察看了一下外面风雪的情况，却发现仙后座的星光清晰地照在自己身上，然后他舒服地伸了个懒腰，爬到草堆上，沉沉睡去。

The trange thing i that each one who ha gone through that itter disillusionment add to it i hi turn,, unco ciously, y the ower withi him which i tronger tha himself.

可是奇怪的是，每个曾经被这种错觉折磨过的人，轮到他们时，有一种不可控制的力量，让他们不自觉地为别人增添这种错觉。

Appearance in the simple sense of 'illusion', the false/distorted representation/image of reality ('things are not what they seem' platitudes)- although, of course, a further distinction needs to be introduced here between appearance qua mere subjective illusion (distorting the transcendentally constituted order of reality) and appearance qua the transcendentally constituted order of phenomenal reality itself, which is opposed to the Thing-in-itself

简单的&错觉&意义上的表象，即有关现实的虚假/被扭曲的表征/意象（如那个老生常谈：&事物并不是它们看上去的那个样子&）。当然还要进行深入的区分，即在下列两者之间进行区分：其一是作为纯粹主观错觉的表象（它扭曲了先验地构成的现实秩序），其二是作为先验构成的现象现实的秩序本身，它与物自体截然相对

As she looked at Warrington's manly face, and dark, melancholy eyes, she had settled in her mind that he must have been the victim of an unhappy attachment.

每逢看到沃林顿那刚毅的脸，那乌黑、忧郁的眼睛，她便会相信，他一定作过不幸的爱情的受害者。

Maybe they'll disappear into a pothole.

也许他们将在壶穴里消失