联想的

Of others elsewhere in other times who, kneeling on one knee or on two, had kindled fires for him, of Brother Michael in the infirmary of the college of the Society of Jesus at Clongowes Wood, Sallins, in the county of Kildare: of his father, Simon Dedalus, in an unfurnished room of his first residence in Dublin, number thirteen Fitzgibbon street: of his godmother Miss Kate Morkan in the house of her dying sister Miss Julia Morkan at 15 Usher's Island: of his aunt Sara, wife of Richie Goulding, in the kitchen of their lodgings at 62 Clanbrassil street: of his mother Mary, wife of Simon Dedalus, in the kitchen of number twelve North Richmond street on the morning of the feast of Saint Francis Xavier 1898: of the dean of studies, Father Butt, in the physics' theatre of university College, 16 Stephen's Green, north: of his sister Dilly in his father's house in Cabra.

40他联想到旁的时候在旁的地方跪着单膝或双膝曾经替他生火的其他那些人；迈克尔修士，在坐落于基尔代尔郡塞林斯的耶稣会克朗戈伍斯公学校医院的病房里。他父亲西蒙。迪达勒斯，在菲茨吉本街门牌十五号那间没有家具等设备的屋子里，而那是他在都柏林的头一个住所。他的教母凯特。莫坎小姐--住在厄谢尔岛她那奄奄一息的姐姐朱莉姬。莫坎小姐家里。他的舅妈萨拉--里奇。古尔丁的妻子，在他们那坐落于克兰布拉西尔街门牌六十二号寓所的厨房里。他的母亲玛丽--西蒙。迪达勒斯的妻子，那是在北里奇蒙街门牌十二号的厨房里，时间是一八九八年圣方济各。沙勿略节日的早晨。副教导主任巴特神父，在"斯蒂芬草地"北区门牌十六号的大学物理实验室里。他的妹妹迪丽，在他父亲那坐落于卡布拉的家里。

The people and objects floating through Gao Bo's works are without roots - perhaps they come from a momentary memory or a spark of interest. Looking at Gao Bo's works brings pictorial information stored deep in the mind to light, yet within a second these mind-images fade again, leaving behind a memory of all the images that lie underneath Gao Bo's warm and languid sketching. In Gao Bo's consciousness, these images don't stop at realism or simply exposit like some historical legend - in the end they reach towards the fringes of nothingness.These images can call up rich associations in our minds yet often these are false associations. For example, in "Gray Face" this is not the mystical dog of the god Erlang in Journey to the West; the rickety bridge in "River Bed" is certainly not a reference to a rainbow in Heaven; the story of "Contest" is not about two dogs running and pretending to be in love but a story of race dogs controlled by humans.

散漫在高波作品中的人与物没有根源，也许它们是源于个人瞬间的兴趣和记忆，有关知识的、情感的和在脑子里存储的图象信息随之而来，也可以随之而去，只是在温和缓慢的描绘背后还有一丝对所有形象匆匆停留过后的怀念，它们在高波的意识之中并不是一次停留于现实或者历史神话般司空见惯的陈述，它们的结果最终都是通向虚无的边缘，尽管那些形象似乎可以唤起我们丰富的联想，比如《灰色的脸》，它绝不是西游记中二郎神的天犬，在《河床》中不牢靠的拱桥，肯定不是寓指天堂里的彩虹，《竞赛》讲述的故事并不是两只在假装为爱情奔跑的狗，而是被人为所驱使的赛狗。

When his letter to mrs. weston arrived, emma had the perusal of it; and she read it with a degree of pleasure and admiration which made her at first shake her head over her own sensations, and think she had undervalued their strength. it was a long, well-written letter, giving the particulars of his journey and of his feelings, expressing all the affection, gratitude, and respect which was natural and honourable, and describing every thing exterior and local that could be supposed attractive, with spirit and precision. no suspicious flourishes now of apology or concern; it was the language of real feeling towards mrs. weston; and the transition from highbury to enscombe, the contrast between the places in some of the first blessings of social life was just enough touched on to shew how keenly it was felt, and how much more might have been said but for the restraints of propriety.- the charm of her own name was not wanting. miss woodhouse appeared more than once, and never without a something of pleasing connexion, either a compliment to her taste, or a remembrance of what she had said; and in the very last time of its meeting her eye, unadorned as it was by any such broad wreath of gallantry, she yet could discern the effect of her influence and acknowledge the greatest compliment perhaps of all conveyed. compressed into the very lowest vacant corner were these words - I had not a spare moment on tuesday, as you know, for miss woodhouse's beautiful little friend. pray make my excuses and adieus to her.' this, emma could not doubt, was all for herself.

他寄给威斯顿太太的那封信，爱玛也看过了，她看信时心情有些激动，因此最初她对自己的感觉有点怀疑，觉得以前没有料到那些感觉的力量如此之大，信写得很长，而且写得不错，他在信中叙述了外地和当地的一些十分有趣的事情'诉说了有关此次旅行情况和他的所感所想，他所有的爱'感激和崇高的敬意都流露于笔端，字里行间没有什么道歉和关心的话语，只有对威斯顿太太表达了真情实感的词句，他从海伯利去恩斯科姆，对两地的社会生活作了分析和比较，由此可以看出，他对这方面的感受相当强烈了，同时也透露出，出于礼貌，他只点到为止，要不然，会写得更多，信中还多次提到她本人的名字，每次谈及时，都带着一种快活的联想，要么夸奖她，要么重温她所说的话，信中最后一次出现她的名字时，尽管没有说出那么多恭维的话，但她还是可以感觉到自己的魅力所在，而且承认他给了她最高的评价，在信笺的最下面密密麻麻地写着，你知道，星期二我没能抽出时间去看望伍德豪斯小姐的那位美丽的小朋友，请代我向她道歉和告别，爱玛深信不疑，这全是冲她而写的，他没有忘记，哈

Rochester: Well, then Jane, call to aid your fancy—suppose you were no longer a girl well reared and disciplined, but a wild boy indulged from childhood upwards; imagine yourself in a remote foreign land; conceive that you there commit a capital error, no matter of what nature or from what motives, but one whose consequences must follow you through life and taint all your Mind I don't say a CRIME; I am not speaking of shedding of blood or any other guilty act, which might make the perpetrator amenable to the law: my word is The results of what you have done become in time to you utterly insupportable; you take measures to obtain relief: unusual measures, but neither unlawful nor Still you are miserable; for the hope has quitted you on the very confines of life: your sun at noon darkens in an eclipse, which you feel will not leave it till the time of Bitter and base associations have become the sole food of your memory: you wander here and there, seeking rest in exile: happiness in pleasure—I mean in heartless, sensual pleasure—such as dulls intellect and blights Heart-weary and soul-withered, you come home after years of voluntary banishment: you make a new acquaintance—how or where no matter: you find in this stranger much of the good and bright qualities which you have sought for twenty years, and never before encountered; and they are all fresh, healthy, without soil and without Such society revives, regenerates; you feel better days come back—higher wishes, purer feelings; you desire to recommence your life, and to spend what remains to you of days in a way more worthy of an immortal To attain this end, are you justified in overleaping an obstacle of custom—a mere conventional impediment which neither your conscience sanctifies nor your judgement approves?

罗切斯特：&那么好吧，简，发挥你的想象力吧——设想你不再是受过精心培养和教导的姑娘，而是从幼年时代起就是一个放纵任性的男孩。-------浏览器上打上-WwW.69ΖW.CoM看最新更新想象你身处遥远的异国，假设你在那里铸成了大错，不管其性质如何，出于什么动机，它的后果殃及你一生，玷污你的生活。注意，我没有说'犯罪'，不是说流血或是其他犯罪行为，那样的话肇事者会被绳之以法，我用的字是'错误'。你行为的恶果，到头来使你绝对无法忍受。你采取措施以求获得解脱，非正常的措施，但既不是非法，也并非有罪。而你仍然感到不幸，因为希望在生活的边缘离你而去，你的太阳遇上日食，在正午就开始暗淡，你觉得不到日落不会有所改变，痛苦和卑贱的联想，成了你记忆的唯一食品。你到处游荡，在放逐中寻求安逸，在享乐中寻觅幸福——我的意思是沉湎于无情的肉欲——它销蚀才智，摧残情感。在几年的自愿放逐以后，你心力交瘁地回到了家里，结识了一位新知——何时结识，如何结识，都无关紧要。在这位陌生人身上，你看到了很多出类拔萃的品质，为它们你已经寻寻觅觅二十来年，却终不可得。这些品质新鲜健康，没有污渍，没有斑点，这种交往使人复活，催人新生。你觉得好日子又回来了——志更高，情更真。你渴望重新开始生活，以一种更配得上不朽的灵魂的方式度过余生。为了达到这个目的，你是不是有理由越过习俗的藩篱——那种既没有得到你良心的认可，也不为你的识见所赞同的、纯粹因袭的障碍？&

The thesis probes into Schoenberg' thinkings about music history, music nationalism, music education, music criticism, and music creation, respectively. There are some important viewpoints in Schoenberg's music thought: Firstly, Schoenberg's ideas of music history, he believes relationship of tradition and revolution in art is dialectical in nature, and argues that evolution in music was determined by natural law, obviously influenced by Hegel's philosophical history idea. Secondly, the thesis sums up his viewpoints of music nationalism, such as "lay stress on art music, look down on folk music","lay stress on western European music, look down on non- western European music" by Schoenberg's account about the reasons of the formation of national art, the dominant of national art and nationality in music; in fact, this viewpoint of western cultural centricity is one of his i mportant viewpoints throughout his life; Thirdly, Schoenberg's concept of music education: in his thought a composing teacher should teach the students how to master "the tool of art", train them for their ability of "one major and various kinds of techniques", try his best to nourish the student's personality; Fourthly, Schoenberg set forth some opinions about modern music critics and the method of music criticism: a music critic must be equipped with the quality of a music expert, and render composer's idea to the public by his art imagination, but not his personal opinion,and Schoenberg stress the areas of music criticism on style and idea ; Lastly, Schoenberg's concept of music creation: Expressionism and organism are two important issues in Schoenberg's thinking about music creation.

本文通过对勋伯格各类论文、书信、演讲、专著等文稿的评述，分别探讨了作为音乐思想家的勋柏格的音乐历史观、民族主义音乐观、音乐教育观、音乐批评观与音乐刨作观，并在此基础上总结了折射在勋柏格音乐思想中的几个重要观点：一，勋柏格对于音乐历史的认识：通过德奥音乐界前辈给予他的创作启示，以及勋伯格对自己几个创作阶段的发展历程的总结，阐述了他对于艺术中的传统与革新之间的关系的辩证认识，并通过这些问题总结出音乐的演进与黑格尔倡导的&历史发展必然性&哲学观念之间存在着必然联系；二，勋柏格的民族主义音乐观：通过勋柏格对于形成民族艺术特征的根本原因、民族艺术中的支配现象、民间音乐与艺术音乐之间的比较、音乐刨作中的&民族性&问题的意识等方面问题的剖析与认识，总结了他的&重艺术音乐，轻民间音乐&、&重西欧音乐，轻非西欧音乐&的观点，从而突出了他的精神领域中的根深蒂固的&德奥音乐中心论&，这是一个浸润着浓厚的西欧文化中心论色彩的观点，也是贯串他毕生的音乐思想的重要观点之一；三，勋柏格对音乐教育问题的见解：勋柏格认为作曲教师应该教会学生掌握&艺术的工具&、在教学中努力做到&一专多能&、注重个性培养；四，勋柏格对当代音乐批评家与音乐批评方法提出的要求：音乐批评家必须具备作为一名音乐家的专业修养，要以真实、客观的态度对待音乐批评这门神圣的职业，充分运用内心的艺术联想向公众再现作曲家的意图，而不是将个人见解强加于受众；同时，批评家需要对艺术的过去与未来拥有全面的了解与较准确的预测，在音乐批评的具体范畴中，应将重心角度置于探讨音乐作品的风格与思想之间的关系方面。

To a western audience who is familiar with reconstructionism, they are filled with novelty and mystique of oriental culture.

首先我看到了中国的山水，气势恢宏的北宋山水；後来又让我联想到清初金陵八家之龚贤，那种幽深与诡秘的构图，那些浓密而又灵动的&点苔&，但是它们是破碎的，撕裂的碎片又被重新整合，用新的格式拼接起来，这在熟悉&解构主义&的西方观众看来是那么的亲切而又充满了东方文化的神秘气息与新鲜感。

I'm strongly against the death penalty — it's an eye for an eye.

我不赞成死刑——这是以牙还牙的报复行为。

And to get you the support you need, we're enlisting all elements of our national power: our diplomacy and development, our economic might and our moral suasion, so that you and the rest of our military do not bear the burden of our security alone.

并给你们所须的支援，我们正徵召国家所有各种的力量：我们的外交及发展，我们的经济力量与道德劝说，所以你们与其他军人不须要孤独地负起国家安全的责任。