使意识到 - 网络例句 - 英语人，englisher

Realism has been improved to the realm of symbolism through creation of symbolic images, which in turn make the novels powerful and profound as well as realistic and natural. The stress laid on the settings helps get rid of trace of design in plots, and deepen the profound implications, which as a result, endow the works with particular profoundness, severity and significance. Through the analysis of the souls of the characters, a secret door deep in people's psyche has been opened and people's sub-consciousness, unconsciousness, abnormal consciousness and other complicated psychic phenomena have been revealed. Consequently a new and spacious aesthetic space is opened.

它通过象征意象的树立，"把现实主义磨练到了象征的境界"，使作品在真实可感、自然贴切之中显示出超常的力度和强度；它通过突出情境、淡化情节的设计，深化了作品广阔深厚的意蕴，赋予作品独到的深刻性、严峻性和巨大的意义；它通过心灵深处的剖析，打开了人们心理深层幽闭的大门，揭示出人们潜意识、无意识、变态意识之中种种复杂的心理现象，开拓出内心世界幽深廓大的审美视界。

Companies in procedures for handling each household, that the developers in the sales department of the basic tenants (such as family situation, work characteristics, personality characteristics, habits, love interest) and the demand for services such as analysis of the characteristics of integrated information from the Department of Management Services to establish specialized household services files, and, accordingly proposed specialized services description and requirements, as a basis for future services.

我们认为，真正高水平的服务应做到于住户日常生活之中不经意处，不落痕迹，使其在回味时既感到惊喜，又觉得自然、真切，进而体验到生活之美，人性之美。公司各服务部门在掌握了住户需求之后，力争把服务做到住户的心上，避免那种被服务者因总是接受别人的帮助而感到不安和尴尬。公司在全体员工中反复强化这一人性化的服务意识，并要求员工将这一意识贯穿到平凡的服务工作之中。

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。

Water margin,that a work dedicated to masculine has always been highly appreciated.yet,it is beyond any doubt that the book presents a biased and even unjust feature of the feminine .there are few women personages in water margin which can be divided into two kinds briefly: namely "lady of easy virtue" and "heroine".novel go on two extremes overly that women'figure was denied impersonal role maid image mould either "bad" or reach "manlike " so that they cant cross to two description of woman these because the writer was intended or involuntary to describe them these.consequently the women' figure maked untrue exceedingly as to the lady of easy virtue write it to the limit excessively ruthlessly poisonously ; as for heroine write its walk chivalrous and loyal to the limit that the woman wasn't defeated by men.the female extreme image was pointed out that the intention of author come from the influence of the super male consciousness to a certain extent and it is inevitability because of masculine being in charge of linguistical power ,in fact, the appearance of women was just only minor role in order that the hero world need to regard man as the centre too.in a word womens destiny in water margin is a miserable foregone!

水浒传》是1部以描写男性英雄为主的名著，历来受到较高评价。然而，作品在女性形象塑造时存在的偏颇甚至不公正却是毋庸置疑的。《水浒传》中的女性人物屈指可数，主要可分为两大类：1是所谓的荡妇恶婆；2是所谓女英雄。作家在对这两类型女性的描写时，都因作者有意或无意的女性意识而走向极端化，实际上是走上了两个无法交汇的极端，使女性形象的塑造过于偏激，不是"淫恶"到极端，就是"男性化"到极点，写淫妇恶婆，写尽其淫，狠，毒；写女英雄，则写尽其行侠仗义，巾帼不让须眉。这种极端化的女性角色定位，既是作者男权意识的自然反映，又是男权社会男性话语权的必然呈现，说白了，出现在《水浒传》的女性不过是点缀和突出男性的生活，是为表现父权制男性英雄世界服务的。

She is not in the washroom and then stopping, because it is finally his own point of view that he cares about and not hers, and with this firmly in mind, and a light, confident step, such as you might find in the works of Bulwer-Lytton, he enters the space she occupies so prettily and, taking her by the hand, proceeds to tear off the stiff white hospital gown (but no, we cannot have that kind of pornographic merde in this majestic and high-minded sentence, which will probably end up in the Library of Congress)(that was just something that took place inside his consciousness, as he looked at her, and since we know that consciousness is always consciousness of something, she is not entirely without responsibility in the matter) so, then, taking her by the hand, he falls into the stupendous white puree of her abyss, no, I mean rather that he asks her how long it has been since her last visit, and she says a fortnight, and he shudders, and tells her that with a condition like hers (she is an immensely popular soldier, and her troops win all their battles by pretending to be forests, the enemy discovering, at the last moment, that those trees they have eaten their lunch under have eyes and swords)(which reminds me of the performance, in 1845, of Robert-Houdin, called The Fantastic Orange Tree, wherein Robert-Houdin borrowed a lady's handkerchief, rubbed it between his hands and passed it into the center of an egg, after which he passed the egg into the center of a lemon, after which he passed the lemon into the center of an orange, then pressed the orange between his hands, making it smaller and smaller, until only a powder remained, whereupon he asked for a small potted orange tree and sprinkled the powder thereupon, upon which the tree burst into blossom, the blossoms turning into oranges, the oranges turning into butterflies, and the butterflies turning into beautiful young ladies, who then married members of the audience), a condition so damaging to real-time social intercourse of any kind, the best thing she can do is give up, and lay down her arms, and he will lie down in them, and together they will permit themselves a bit of the old slap and tickle, she wearing only her Mr.

然后阻止，因为到最后那是他自己的关心的观点而不是她的，在他的脑子里根深蒂固，他自信地走了一步，这就像你也许会在布尔沃？里顿的作品中看到的一样，他进入兴高采烈地进入她占有的空间，抓住她的手，开始撕开他白色僵直的病号衣（但是我们没有在他冠冕堂皇的充满智慧的语句中发现那种带有色情的废话，那也许会在国会图书馆中绝迹）（在他的意识中有一些东西正在被替代，当他看她的时候，就如我们知道的意识始终是意识，她在这个事情中不是完全没有责任的），所以，然后抓起她的手，他掉进了她深渊的巨大白色水中，不，我想他问她自从她上回来已经多久了，她说有两个星期了，他战栗着告诉她她现在的情况（她是一个非常受欢迎的女兵，她的部队通过埋伏在森林里赢得了所有的战斗，在最后的时刻敌人发现了，那些他们吃掉他们午餐的树有了眼睛和剑）（这使我想起了一八四五年罗伯特？乌丹的演出，叫做《奇幻橘子树》，在其中罗伯特？

She is not in the washroom and then stopping, because it is finally his own point of view that he cares about and not hers, and with this firmly in mind, and a light, confident step, such as you might find in the works of Bulwer-Lytton, he enters the space she occupies so prettily and, taking her by the hand, proceeds to tear off the stiff white hospital gown (but no, we cannot h39e that kind of pornographic merde in this majestic and high-minded sentence, which will probably end up in the Library of Congress)(that was just something that took place inside his consciousness, as he looked at her, and since we know that consciousness is always consciousness of something, she is not entirely without responsibility in the matter) so, then, taking her by the hand, he falls into the stupendous white puree of her abyss, no, I mean rather that he asks her how long it has been since her last visit, and she says a fortnight, and he shudders, and tells her that with a condition like hers (she is an immensely popular soldier, and her troops win all their battles by pretending to be forests, the enemy discovering, at the last moment, that those trees they h39e eaten their lunch under h39e eyes and swords)(which reminds me of the performance, in 1845, of Robert-Houdin, called The Fantastic Orange Tree, wherein Robert-Houdin borrowed a lady's handkerchief, rubbed it between his hands and passed it into the center of an egg, after which he passed the egg into the center of a lemon, after which he passed the lemon into the center of an orange, then pressed the orange between his hands, making it 56aller and 56aller, until only a powder remained, whereupon he asked for a 56all potted orange tree and sprinkled the powder thereupon, upon which the tree burst into blossom, the blossoms turning into oranges, the oranges turning into butterflies, and the butterflies turning into beautiful young ladies, who then married members of the audience), a condition so damaging to real-time social intercourse of any kind, the best thing she can do is give up, and lay down her arms, and he will lie down in them, and together they will permit themselves a bit of the old slap and tickle, she wearing only her Mr.

然后阻止，因为到最后那是他自己的关心的观点而不是她的，在他的脑子里根深蒂固，他自信地走了一步，这就像你也许会在布尔沃？里顿的作品中看到的一样，他进入兴高采烈地进入她占有的空间，抓住她的手，开始撕开他白色僵直的病号衣（但是我们没有在他冠冕堂皇的充满智慧的语句中发现那种带有色情的废话，那也许会在国会图书馆中绝迹）（在他的意识中有一些东西正在被替代，当他看她的时候，就如我们知道的意识始终是意识，她在这个事情中不是完全没有责任的），所以，然后抓起她的手，他掉进了她深渊的巨大白色水中，不，我想他问她自从她上回来已经多久了，她说有两个星期了，他战栗着告诉她她现在的情况（她是一个非常受欢迎的女兵，她的部队通过埋伏在森林里赢得了所有的战斗，在最后的时刻敌人发现了，那些他们吃掉他们午餐的树有了眼睛和剑）（这使我想起了一八四五年罗伯特？乌丹的演出，叫做《奇幻橘子树》，在其中罗伯特？

Water margin,that a work dedicated to masculine has always been highly appreciated.yet,it is beyond any doubt that the book presents a biased and even unjust feature of the feminine .there are few women personages in water margin which can be divided into two kinds briefly: namely "lady of easy virtue" and "heroine".novel go on two extremes overly that women'figure was denied impersonal role maid image mould either "bad" or reach "manlike " so that they cant cross to two description of woman these because the writer was intended or involuntary to describe them these.consequently the women' figure maked untrue exceedingly as to the lady of easy virtue write it to the limit excessively ruthlessly poisonously ; as for heroine write its walk chivalrous and loyal to the limit that the woman wasn't defeated by men.the female extreme image was pointed out that the intention of author come from the influence of the super male consciousness to a certain extent and it is inevitability because of masculine being in charge of linguistical power ,in fact, the appearance of women was just only minor role in order that the hero world need to regard man as the centre too.in a word womens destiny in water margin is a miserable foregone!

水浒传》是1部以描写男性英雄为主的名著，历来受到较高评价。然而，作品在女性形象塑造时存在的偏颇甚至不公正却是毋庸置疑的。《水浒传》中的女性人物屈指可数，主要可分为两大类：1是所谓的荡妇恶婆；2是所谓女英雄。作家在对这两类型女性的描写时，都因作者有意或无意的女性意识而走向极端化，实际上是走上了两个无法交汇的极端，使女性形象的塑造过于偏激，不是&淫恶&到极端，就是&男性化&到极点，写淫妇恶婆，写尽其淫，狠，毒；写女英雄，则写尽其行侠仗义，巾帼不让须眉。这种极端化的女性角色定位，既是作者男权意识的自然反映，又是男权社会男性话语权的必然呈现，说白了，出现在《水浒传》的女性不过是点缀和突出男性的生活，是为表现父权制男性英雄世界服务的。

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。

By February 22, 1961, Sir Alec Douglas-Home, the Foreign Secretary and future Prime Minister, wrote in a letter marked "top secret" to Harold Watkinson, the Defence Minister, and to the Prime Minister:"It must be fully obvious to the Americans that Hong Kong is indefensible by conventional means and that in the event of a Chinese attack, nuclear strikes against China would be the only alternative to complete abandonment."

1961年2月22号，外交大臣Alec Douglas-Home爵士，在写给防卫大臣和首相的一份最高级别机密信件中写道：必须使美国人意识到香港是用常规手段是无法守住的，而当中共开始进攻，核打击是唯一的方法。

When Hyun Woo says the Kwangju massacre of 1980 made him realize "our enemy was not the North," we are evidently to agree that this was the only possible conclusion.

当玄宇说，1980年光州屠杀事件使他意识到&我们的敌人不是朝鲜，&我们显然同意，这是唯一可能的结论。