故事作者

In the change of the distance of voice between the author's and the character's, it is found that the author hides himself from the text and changes his feelings to the character, which is the motive force of the story.

从作者与作品人物的声音距离的变化中，发现了作者的隐退及其情感的转变，并探索到其推动故事发展的动力性因素。

It aims to reveal the formation, development and disillusionment of American Dream through the analysis of the novel's writing background and plot, the author's experience, the connotation of American Dream in different historic backgrounds and the disillusionment of Gatsby's American Dream.

论文从作者和小说人物分析着手，通过对《了不起的盖茨比》的写作背景，作者自身的经历、故事的主要内容、"美国梦"在不同历史背景下的内涵、及盖茨比之梦的破灭等多方面的分析和解剖，深刻地揭示了"美国梦"的形成、发展和最终破灭。

It aims to reveal the formation, development anddisillusionment of American Dream through the analysis of thenovel's writing background and plot, the author's experience, theconnotation of American Dream in different historic backgrounds andthe disillusionment of Gatsby's American Dream.

论文从作者和小说人物分析着手，通过对《了不起的盖茨比》的写作背景，作者自身的经历、故事的主要内容、"美国梦"在不同历史背景下的内涵、及盖茨比之梦的破灭等多方面的分析和解剖，深刻地揭示了"美国梦"的形成、发展和最终破灭。

Chapter Five The Custom Culture and Fiction of the Han Dynasty The fiction was mainly affected by the custom culture in four aspects in the Han dynasty: Firstly, the fiction originated chiefly in hearsay. And the necromancy culture and comedy culture were its nutrition. Secondly, Many fiction writers were necromancers, comedians or bookmen whose status were like necromancers or comedians. The contents of the fiction are mainly hearsay and legend including freaky stories and person anecdotes, etc. There are particularly many contents about supernatural beings and necromancy. Owing to the factors such as writer composition and content source, the fiction has the artistic features of absurdity eeriness, wittiness, rich imagination, emphasis on imagery and narration, which give it strong literary colors.

第五章汉代风俗文化与汉代小说汉代风俗文化对本时期小说的影响主要表现为：汉代小说主要是在民间传说的土地上萌生出来的，当时的方士文化和俳优文化则是滋养它们的阳光雨露；方士、俳优或身份近于方士、俳优的文人是汉代小说作者队伍中的重要力量；汉代小说在内容上主要是对各种传言俗说的汇合，其中既有神怪故事，又有人物轶事，尤多神仙方术之谈；由于作者构成、内容来源等因素的影响，汉代小说具有虚诞、怪异、谐谑、想像丰富、注重形象性和故事性等艺术特点，这些特点赋予其较强的文学意味。

Is mainly through the time background which as well as the biography experience inquisition locates to author Liang Chenyu,explored it to create "Huan Sha Ji" such has poured into the traditional historical story the deep political content,while eulogized struggle spirit which more country rulers and the ministers vigorous planned to be stronger,make determined efforts,also criticized the Wu rulers and the ministers sybaritism,to be greedy for money lasciviously,does not distinguish loyal deceitful decayed essential the dramatic work behind,what were more was to mold the painstaking care which the Xi Shi image poured into,namely Xi Shi has represented Liang Chenyu in the ideal character image,and was reposing author's ideal of life.

主要是通过对作者梁辰鱼所处的时代背景以及生平经历的探究，来探索其创作《浣纱记》这样一个将传统的历史故事注入了深厚的政治内容，在歌颂了越国君臣发奋图强、励精图治的斗争精神的同时，也批判了吴国君臣骄奢淫逸、贪财好色、不辨忠奸的腐朽本质的剧作的背后，更多的是为塑造西施形象所倾注的心血，即西施代表了梁辰鱼理想中的人物形象，并寄托着作者的人生理想。

There is nowhere in the story any hint that its writer would have recommended such punctiliousness as desirable for the Jews in general, any more than the admiring Christian biographers of Simeon Stylites appear to think that it would be well for the people to follow his example.

有没有在这个故事有任何迹象表明，其作者将已提出建议，例如punctiliousness作为可取的犹太人在一般，任何较令人钦佩的基督教传记作者的西蒙stylites似乎认为这会以及为人民群众跟随他的榜样。

In irony in narrative text, the author applies a setting to exceed narrate a layer, enable suspect relator, and implicit author and relator perform the expressional trick such as a two-man act, make story surface layer is narrated form intense irony with deep-seated connotation, effective ground is outspread the meaning of text accumulate, heightened the artistic tension of work.

在反讽叙事文本中，作者运用设置超叙述层、启用不可信叙述者、以及隐含作者和叙述者演双簧等表现手法，使故事表层叙述和深层内涵构成强烈的反讽，有效地扩张了文本的意蕴，增强了作品的艺术张力。

And the twist in the story is in the place where the author's encoding and the reader's decoding meet; that is, when the author chooses a sperm as the "hero" of the story and the reader understands the parodic tone behind, the postmodern parody is formed.

而故事的扭转则在作者的编码与读者之解码交会处，也就是在作者选择一只精子作为小说的主人翁，而读者体会出其中戏拟的语气时，整个后现代戏拟於焉形成。

It was a manuscript containing 53 stories, some written out in detail, others sketched in brief outline form. In December 1810 they submitted this collection to Clemens Brentano and Achim von Arnim for inclusion in a planned third volume to their successful collection of folk poetry entitled Des Knaben Wunderhorn (The Boy's Magic Horn, 3 volumes, 1806, 1808, 1808), which was to be dedicated to folktales.

这是一份包含了53个故事的手抄稿，有些故事描写细致，有些只是有个故事大纲。1810年12月格林兄弟把它寄给了lemens Brentano 和 Achim von Arnim，希望把它包含在这两位作者计划出版的《Des Knaben Wunderhorn (The Boy's Magic Horn， 3 volumes， 1806， 1808， 1808)》第三卷中。

In addition, the narrative viewpoint in the text is author's story telling sound and object observing method. With the transformation of characters' viewpoints to reach the effect of extending view-domain and observing from diverse perspectives, and achieve the practice of female subject from the voice of a female narrator. As for aspect of author's travel writing, she is good at applying letter/diary formation to express internal and private soliloquy, which is a discourse of self-contemplated and an interpretation for the process of self-generation.

此外，文本的叙述视角是作者说故事的叙述声音与转换观看对象的手法，通过人物视角不断的转换，在於达到扩展视域与观照多元角度的效果，从女性叙述者的发声完成了女性主体性的实践；而作者在女性旅行书写方面，擅於运用书信/日记体的体裁，表达内心幽微的私密独白，而这种剖白的对话实则自我的凝视，诠释的是一段自我生成的过程。

Chrysanthemum of 10 thousand birthday is lax to edaphic requirement, with the arenaceous qualitative loam with fecund, good drainage had better.

万寿菊对土壤要求不严，以肥沃。排水良好的砂质壤土为好。

He unstepped the mast and furled the sail and tied it.

他拔下桅杆，把帆卷起，系住。