查询词典 writers

Overseas Chinese literature in the ten years of the new century, presented at a deeper level the integrity of the overseas Chinese writers in the "new old" hand-over communication between the generations, the Chinese writers generation and new immigrants from overseas due to the deep-seated patterns of Chinese literature adjustments, Chinese development in the cultural displace and spread , and all reflect the efforts of overseas Chinese literature beyond the east and west binary to point the "third element".

新世纪10年海外华文文学在深层次上呈现的中华民族文学的整体性，海外华文作家"新老"交接中的世代沟通，华人新生代和新移民作家创作引起的海外华文文学格局的深层次调整，汉语在文化流徙传播中的丰富发展，都反映出海外华文文学超越东、西二元而指向"第三元"的努力。

It developed from a slightly boozy lunch I had with some writer friends. We were bemoaning the fact that authors of popular fiction found it hard to get published and receive any recognition. Writers of literary fiction received grants and other handouts to get their work published, but commercial writers received nothing.

这个主意源于一次我和一些作家朋友们的午餐；当时大家都喝了点酒，然后都在抱怨通俗小说的作家们很难得到发表的机会，更难以得到社会认可；严肃作家们有很多机会，而商业写手们却什么也得不到。

I want to read modern writers, and English writers, like Geoffrey Chaucer.

我想读当代的、尤其是英国的作家。

Good writers differ from poor writers in the use of strategies of adjusting or approximating the message, using circumlocution or synonym, discussing feelings with others, and empathizing with others.

好的写作者与中等的写作者的区别在于前者更频繁地使用修改策略，并且更多地在宏观层次上修改文章，而中等生与差生的区别反映在后者比前者更多地使用列提纲策略。

Bernard, Hoepffner - Literary translation into French of experimental american writers such as Robert Coover, Toby Olson, Gilbert Sorrentino, Guy Davenport, Coleman Dowell, Joseph McElroy, William Goyen and others, and of Renaissance English writers such as Robert Burton and T ...

贝尔纳，hoepffner -实验美洲文学翻译成法文等作家罗伯特coover，toby奥尔森，吉尔伯特sorrentino，波特家伙，科尔曼Dowell的约瑟夫麦克罗伊威廉goyen等例如文艺复兴和英国作家伯顿罗伯特和笔

The Fourth Chapter: The Extreme and Limit of the Model Deconstructing (1985-1991) The introduction and importation of the contemporary western historical concept, the extension and deviousness of the history journey and the writers' personal special experience impelled the writers of the new generation to abandon the concept of the history and literature that they had had, and overwhelmed the classical mode of the narration about the Minguo Times completely.

第四章 模式消解的极致与限度（1985-1991）西方当代史学观念的介绍与引进、历史行程的延展性与几度的迂回性、作家自身的独特经历促使新一代作家抛弃既有历史观、文学观，完全颠覆民国叙事的经典模式：打破阶级界线、释放个人欲望、强调偶然不测，并用种种形式探索来显示历史叙述的主观性，创作了一批被称为"新历史小说"的作品。

Mainland experiences made Taiwan writers absorb more nutrition from May Fourth New Literature, what promoted the rising and development of Taiwan New Literature. Zhou Ding-shan agreed with the three main themes of modern Chinese literature and Lu Xun's style. Wang Bai-yuan finally selected the latter between "art" and "revolution", and this was the same foreordination of many modern Chinese literature writers.

大陆经验使台湾作家更多从五四新文学中吸取营养，促进了台湾新文学的兴起和发展，如周定山与中国现代文学三大主题和鲁迅风格有相当的契合；王白渊在"艺术"和"革命"之间最终选择了后者，而这是诸多中国现代文学作家的共同"宿命"。

From the writers who went southwards to Nanyang from the late-1920s to the early-1930s, I select three Chinese revolutionary writers as examples in the present paper. From their main experiences, important activities before going southwards and their social activities, cultural activities during exiling in Nanyang and their relative cultural activities after returning to homeland, It is not difficult to discover that using the writers who went Southwards as intermediaries, the Chinese proletarian literature movement during the 1920s-1930s promote the Nanyang " Lately Arising Literature Movement" to grow up.

本论文选取20世纪20年代末至30年代初南下南洋的三位中国革命作家洪灵菲、许杰、马宁，对他们在南下前的主要经历和重要活动，流亡南洋期间所从事的社会活动和文化活动，以及回国后所继续从事的与南洋有关的文学活动加以爬梳，从中不难发现，中国20世纪20-30年代的无产阶级革命文学运动，透过南下作家这一中介促使了南洋&新兴文学运动&的崛起，继而对当地的文学艺术、社会思想等各方面产生程度不同的影响。

The database provides bibliographies on over 800 British women writers, as well as related material on literary, social and historical events, male writers and non-British women writers.

主要收录早期到当代有关大不列颠女性作家传记与评论资料，另也收录男性作家和非英国妇女作家的作品。

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。

At the rear was an innovative combination transaxle with the gearbox, clutch, differential, and inboard-mounted drum brakes.

在后面是与变速箱，离合器，差的创新结合变速，和内侧安装鼓式制动器。

For more people can apprecaite and have the master work, there is reproduction painting appears in the market, the large various selection of paint,the high saturation of color plus the plentiful sfumato, to make the reproduction perfect copy and detail as original painting, so as to meet the requirment of amateurs who love art paintings,they do not need to pay high price to get classical paintings.

颜料色域广，色彩饱和度高，色彩层次丰富，图像色彩还原真实，能完美的复制原作，满足艺术爱好者欣赏，艺术爱好者们不用支付昂贵的价格就能拥有经典油画。