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She illustrates people's survival state through her penetrating perception and particular personal experience. In the plaintive A Toast to the Past, the witty Cumbrous Roles, and the uncanny A Piece of Chippy Paper, she exposes all her experience and pain in life bravely.

无论是低调,哀婉的《与往事干杯》,诙谐温情的《角色累赘》,还是凄清怪诞的《纸片儿》,都勇敢的暴露和敞开了她所体验的全部生命之痛,把一个女人的全部的欲望、心智、孤独、病态等等一切的本来面目都呈现出来,并由女性个人化的东西升华到普遍人类的高度,使作品呈现出相当的理性深度,从而体现了作家本人对人类存在困境的深远忧虑。

In the preparation of this book, a few of my friends have been especially helpful with their contributions and advice: Po Chuyi of the eighth century, Su Tungp's of the eleventh, and that great company of original, spirits of the sixteenth and seventeenth centuries- the romantic and voluble T'u Ch'ihshui, the playful, original Yuan Chunglang, the deep, magnificent Li Chown, gay old hedonist Yuan Tsets'ai, and the bubbking, joking, effervescent, Chin Shengt'an-unconventional souls all, men with too much independent judgment and too much feeling for things to be liked by the orthodox critics, men too good to be "moral" and has too moral to be "good" for the Confucianists.

我写这书的时候,他们藉着贡献和忠告,给我以特殊的帮助,第八世纪的白居易,第十一世纪的苏东坡,以及十六、十七两世纪那许多独出心裁的人物——浪漫潇洒,富于口才的屠赤水;嬉笑诙谐,独具心得的袁中郎;多口好奇,独特伟大的李卓吾;感觉敏锐,通晓世故的张潮;耽于逸乐的李笠翁;乐观风趣的老快乐主义者袁子才;谈笑风生,热情充溢的金圣叹——这些都是脱略形骸不拘小节的人,这些人因为胸蕴太多的独特见解,对事物具有太深的情感,因此不能得到正统派批评家的称许;这些人太好了,所以不能循规蹈矩,因为太有道德了,所以在儒家看来便是不"好"的。

For the remaining 600-odd pages, Yu will wrestle with these two toilets and the two Chinas they represent -- one past and one present, one humble and one grand, both, in Yu's waggish but merciless depiction, equally tragic and equally ridiculous.

在接下来的600多页里面,余华着力表现这两个厕所以及它们所代表的两个中国——一个是过去的,一个是现在的,一个是简陋的,一个是富丽堂皇的。在余华诙谐和冷酷的叙述中,它们同样的悲哀,同样的可笑。

The red light was accompanied by a snatchy conversation of a woman making a phone call in an affected accent. Afterwards it was a man on the phone, talking the same thing as the woman. And then the blue light was on, there came thought the sound of turning pages of the ancient book, and the sound of tearing up papers.

这是一部温和的作品,其中的诙谐也好,反讽也罢,都是沉寂、静态而内省的,但艺术家的真实意图仍然可以被明确地捕捉到:当那双手翻动古书时,其影像的表现是端庄的,肃穆的,甚至带有悲剧的色彩--这是对已逝去的文化传统美学传统的当代性致意。

When network becomes one of intermediaries of literature, its suppositional feature makes it resemble the people grand carnival fancy ball with the dummy, symbolic, and interactive characteristics. Also the hubbub, relaxed liberty, and the vulgar humorous language in network literature manifest its distinct carnival color. Compared with the traditional elite literature, network literature, with gradually richening form, has had the common people consciousness that everybody can participate in; and has had the particularity of desire consumption, and the pursuing of real life.

当网络成为文学的传播媒介时,网络的虚拟性又使得网络文学具备了像民间盛大的狂欢节化妆舞会,具有广场狂欢的虚拟性、符号性和交互性;网络文学的众声喧哗、轻松自由、富有个性的诙谐粗鄙语言等特点更加显现其狂欢色彩;与精英化的传统文学相比,网络文学具备了全民参与的平民意识,具备了大众文化欲望消费、追求现实生活的审美特质,其审美形式也在日渐丰富。

Trembling he obeyed, and raised his humble head; and then, in that utter clearness of the imminent dawn, while Nature, flushed with fullness of incredible colour, seemed to hold her breath for the event, he looked in the very eyes of the Friend and Helper; saw the backward sweep of the curved horns, gleaming in the growing daylight; saw the stern, hooked nose between the kindly eyes that were looking down on them humourously, while the bearded mouth broke into a half-smile at the corners; saw the rippling muscles on the arm that lay across the broad chest, the long supple hand still holding the pan-pipes only just fallen away from the parted lips; saw the splendid curves of the shaggy limbs disposed in majestic ease on the sward; saw, last of all, nestling between his very hooves, sleeping soundly in entire peace and contentment, the little, round, podgy, childish form of the baby otter.

他战战兢兢地抬起谦卑的头。就在破晓前那无比纯净的氛围里,大自然焕发着她那鲜艳绝伦的绯红,仿佛正屏住呼吸,等待这件大事——就在这一刻,鼹鼠直视那位朋友和救主的眼睛。他看到一对向后卷曲的弯弯的犄角,在晨光下发亮;他看到一双和蔼的眼睛,诙谐地俯视着他俩,慈祥的两眼间一只刚毅的鹰钩鼻。一张藏在须髯下的嘴,嘴角似笑非笑地微微上翘;一只筋肉隆起的臂,横在宽厚的胸前,修长而柔韧的手,仍握着那支刚离唇边的牧神之笛。毛蓬蓬的双腿线条优美,威严而安适地盘坐草地上;而偎依在老牧神的两蹄之间,是水獭娃娃那圆滚滚、胖乎乎、稚嫩嫩的小身子,他正安逸香甜地熟睡。

Most topics which we can expect Clarkson to have a witty opinion on are covered, from the currently very topical 'Nimbyism'(objection to unpleasant things being placed near where you live), to men's inability to look after children for long periods of time, or to operate 'white goods'.

而在大部分所涉及的论题中,从当前非常热门的&为生存权而抗争&(即反对在你居住地附近安置令人不悦的东西)到男人们所缺乏的能力——在长时间照看小孩方面或在&白色物品&的使用上,我们都可以期待看到克拉克森的诙谐言辞。

What's more,the peculiarity of the humor present itself an important way of deconstructing gender,as the witty and incisive mode of discourse,it will help us to know better about men and women as well as describing their personalities.

What的更重要的是,独特的幽默本本身的一个重要方式解构性别,作为诙谐和精辟的话语方式,这将有助于我们更好地了解男人和女人,以及描述他们的personalities。

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