语言上的

Secondly, language, Pu Songling unique Blair blend of vulgar language style, language figures paint a vivid Berthelot, and the style with the simple beauty; in the mood again, the perfect atmosphere exaggerations, put the reader into a luxurious vice magic realm of moods and characters combined, reuse unique language performance, and to achieve a "Habitat namely," the state, giving people the enjoyment of beauty; Finally,"happy" ending of the story, but also to express the Chinese people since ancient times,"Good will be rewarded with good, evil with evil "and the traditional concepts of good wishes.

求翻译！请高手帮帮忙！其次在语言上，蒲松龄以其独特的雅、俗相融的语言风格，将人物语言描绘得活脱生动，并且具有文言的简洁美；再次在意境上，恰到好处的氛围渲染，把读者带入了一副副瑰丽神奇的境界，将意境与人物刻画相结合，再用独特的语言表现出来，达到一种"境即为人"的境界，给人以美的享受；最后，"大团圆"的故事结局，更是表达了中国人自古以来"善有善报，恶有恶报"的传统观念和美好愿望。

Current researches show little attention to this structure and thus this paper is devoted to an overall understanding of this structure. The content of this thesis focuses on the following three aspects:First, when restricting the potential semantic range of noun phrases with its own proposition, the modifying clauses in English and Chinese share the same semantic features. That is to say, the modified noun phrase and the predicate of the clause depend on each other for existence. This semantic restrictiveness is obligatory for the clause and the noun phrase it modifies in both languages. Second, though sharing the same potential conceptual meaning, the combination of a clause and its modified noun phrase shows different syntactic position in surface structure as well as the inner structure of the clause. Based on a full description of syntactic characteristics of this kind of clause, the present thesis points out the differences and similarities existing in surface structure between English and Chinese. Finally, under the guidance of Chomskys Minimalist Program(1995), the thesis analyses the derivational processes of this structure in both languages.

现有的对比研究对于该结构的探讨，不论是在描述和解释上都是不完备的，为了深化这一句法结构的认识，本文从如下几个方面对英汉分句作定语修饰名词的现象进行了对比：首先，分句用自身的命题限制中心名词的语义范围时，在两种语言中具有相同的语义特征，即中心名词与分句内部的谓词之间存在依存关系，分句修饰名词必然受到语义的限制，是英汉两种语言必须共同遵守的准则；其次，英汉两种语言中表达相同概念意义的这一句法单位与其修饰的名词结合后，在表层结构中体现出不同的位置关系，且分句内部的句法结构也各有特点，本文在充分对其句法特征描述的基础上，指出二者在表层形式上的差异和共性；最后，尝试在乔姆斯基的最简方案(1995)框架内，演示英汉两种语言。

This paper describes and interprets employment situations of vague language in English business correspondence,thus concludes that the employment of vague language in English business correspondence is still based on the principles of clarity and appropriateness for business letters.The paper divides the employment situations into two kinds: objective unability and subjective unwillingness,based on wh...

通过对英文商务信函中模糊语言的使用情境进行描述性和解释性分析，认为模糊语言在英文商务信函中的使用还是基于商务信函必须明确得体这一原则，得出模糊语言在英文商务信函中的使用情境分为客观上的不能和主观上的不愿，在此基础上将模糊语言分为内容上的和语气上的两种类型，并从关联理论的角度对这两种情境存在的合理性进行解释。

Since the 1990s, he has proposed that the fundamental task of Chinese teaching is language learning, that its purpose is to improve students' ability to comprehend and apply Chinese, the essence is to direct students acquire the language while practicing on the basis of their development and the major method language-sense teaching. He has asserted that the language-sense teaching method must follow the steps of feeling, apprehending, accumulating and using of language. The practice and analysis of language-sense method must be of equal importance, and closely combined to moral education, thought training, aesthetic edifying, and Chinese language impartment. He has also claimed that teaching material should be compiled with more contents, more refinement and higher starting point in terms of students' actual development of language skills. His analysis of the long-term misplays in Chinese language education is profound and the repositioning and re-interpretation to the facts as purpose, task, essence, subject, method and materials of Chinese language teaching are full-scaled. In terms of teaching, Hong has stressed on the cultivation of the ability of language acquisition and intuition.

上世纪90年代以来，他先后提出语文教学的根本任务是学习语言；语文教学的目的是提高学生正确理解和运用祖国语言文字的能力；语文教学要以学生发展为本，&变讲堂为学堂&，指导学生在实践中学习语言；语文教学的主要方法是语感教学；语感教学要遵循&感受、领悟、积累、运用&的途径，坚持语感实践与语感分析并重，并与思想教育、思维训练、审美陶冶、语文知识教学紧密结合，与生活密切联系；根据学生语言发展的实际，大容量、高起点、选精品编写教材等一系列主张，从理论上对语文教学的长期性失误作了深刻剖析，对语文教学的目的、任务、本体、主体、方法、教材等问题进行重新定位和诠释。

The traditional research pass wades the point of departure when we researches language problem in the modern new poetry is usually the static-state linguistics, i.e., it explains the rhythm, rhyme and choice of vocabulary from the opposite static layer of the phrase, such as the pure phrase logic and the grammar layer and so on. Though this kind of angle of view of does major contribution in studying language of the modern new poetry, it also brings the irregularity of analysis equally, because its abstract and regular analytic method can't correspond with the modern new poetry whose expression of character is freedom and immediate, and thus obstructs us to have further cognition of the language of the modern new poetry.

传统的关涉现代新诗语言问题的研究的出发点往往是静态语言学，也就是从单纯的语词逻辑、语法层次等相对恒定的语言层面来阐释现代新诗的音韵、节奏乃至词汇选择，这种语言视角尽管为现代新诗的语言研究做出了重要贡献，但同样也带来诸多分析上的弊端，它的这种定型的归纳和抽象的规则化分析方法无法更好地切入到以自由和随即为表述特征的现代新诗语言，也就在一定程度上阻碍了人们对现代新诗语言的进一步认知。

This "importation" of the individual consciousness of the creator must however remain controlled. This is of the utmost importance, without constraints or measures we would fall either into the aesthetics of popular taste or into an escalation of elitist vocabulary that would weaken the language. If I myself no longer dare to use oil paints, to revisit or augment, it is due to its intrinsic overabundance of culture; having barely touched the palate, there is an immediate return to the domain of noble art. I would be too scared of creating some useless work while loosing the intensity afforded to a more direct language. Fluctuations in our cultural structure have resulted in vernacular embodying the new norm while I, in the domain of artistic language, have opted for the mode and techniques of traditional embroidery. A long while ago, during the time of the Yuan Ming Yuan artist village, I was convinced that I would run into problems if I applied myself to oil paint. I had produced next to nothing up until the day when, by coincidence, I noticed the many works of embroidery being sold at the entrance to the Summer Palace. I felt like I had finally found my mode of expression, my own personal artistic language. Due to the fact that embroidery belongs to the pre-industrial age, there is a "folkie" quality to it, rural and natural. This ill-defined modern world in which we live must also respond to the demands of "common people", the "lowly" and the "nouveau riche". In some sense, the re-appropriation of this folkloric technique was a necessity, much as it was during the time of the shift from "prose to spoken language" [1], an unavoidable consequence of social upheaval. It was not limited to a mere question of the stylistic signification of the semantic form. What embroidery embodies is a structural modification of society at its most basic level.

虽然它注入了艺术家的个人意识，但关键就是分寸感的把握，不然，或者伦为真的大众趣味，或者切入过多的经英语词汇，而使语言虚弱，就我而言，我不敢重操油画，或是改造扩充，就是由于它本身太文化了，一出手就高雅了，怕弄个不伦不类而失掉语言直接性的强度，文化结构的改变，艺术的俗语是一种趋势，从艺术语言上，我是用传统刺绣方式和手法的，早在圆明园画家村时，我几乎没有画出什么东西，油画肯定觉得使用起来有问题，在当时偶然在颐和园门前，看到很多刺绣的艺术品，一下子感到找到了方法，因为刺绣这种手段属于工业文明之前的东西，它有种土色和平民的感觉，这种也对应了时下的&平常人&、&小人物&、&暴发户&对现代化的消费趣味的追求，那种不伦不类的现代性，正好我的家乡唐山有一个很有名的刺绣厂，找师傅做作品可能更方便，有了这个想法之后，也得到朋友的鼓励，刺绣这一传统民间资源的再利用，在某种意义上说就像&白话文&始于当时社会巨大的转型出现的必然，它不单单是语言风格样式上的意义，它体现的是深层的社会文化结构改变的宣示。

One correlate of that axiom is that Creole languages fall outside the class of structurally "normal"/"genetic" languages with "normal"/"genetic" pedigree as defined by the family-tree model of gradual linguistic change / speciation: languages in the standard family-tree (e.g., French) are assumed to have developed gradually from "normal" full-fledged languages (e.g., Latin), not from structurally reduced Pidgins.

一个跟这个原则相关的就是克里奥尔语言不属于有正常&起源由来&／结构&正常&的语言—也就是在语言上由逐渐改变和演化的家谱模型定义中&正统&且&具起源性&的出身：有正常系统的语言是从&正常&成熟的语言逐渐发展而来，而不是从一个结构上简化的洋泾？语发展而来。

One correlate of that axiom is that Creole languages fall outside the class of structurally "normal"/"genetic" languages with "normal"/"genetic" pedigree as defined by the family-tree model of gradual linguistic change / speciation: languages in the standard family-tree (e.g., French) are assumed to have developed gradually from "normal" full-fledged languages (e.g., Latin), not from structurally reduced Pidgins.

一个跟这个原则相关的就是克里奥尔语言不属於有正常「起源由来」结构「正常」的语言—也就是在语言上由逐渐改变和演化的家谱模型定义中「正统」且「具起源性」的出身：有正常系统的语言是从「正常」成熟的语言逐渐发展而来，而不是从一个结构上简化的洋泾？语发展而来。

One correlate of that axiom is that Creole languages fall outside the class of structurally "normal"/"genetic" languages with "normal"/"genetic" pedigree as defined by the family-tree model of gradual linguistic change / speciation: languages in the standard family-tree (e.g., French) are assumed to have developed gradually from "normal" full-fledged languages (e.g., Latin), not from structurally reduced Pidgins.

一个跟这个原则相关的就是克里奥尔语言不属於有正常「起源由来」结构「正常」的语言—也就是在语言上由逐渐改变和演化的家谱模型定义中「正统」且「具起源性」的出身：有正常系统的语言是从「正常」成熟的语言逐渐发展而来，而不是从一个结构上简化的洋泾滨语发展而来。

One correlate of that axiom is that Creole languages fall outside the class of structurally "normal"/"genetic" languages with "normal"/"genetic" pedigree as defined by the family-tree model of gradual linguistic change / speciation: languages in the standard family-tree (e.g., French) are assumed to have developed gradually from "normal" full-fledged languages (e.g., Latin), not from structurally reduced Pidgins.

一个跟这个原则相关的就是克里奥尔语言不属于有正常&起源由来&／结构&正常&的语言—也就是在语言上由逐渐改变和演化的家谱模型定义中&正统&且&具起源性&的出身：有正常系统的语言是从&正常&成熟的语言逐渐发展而来，而不是从一个结构上简化的洋泾滨语发展而来。

Methods: Five patients with parkinsonism or dystonia were assigned to general anesthesia using an modified endotracheal tube.

本实验依照人体实验之相关规定进行，五位患有帕金森氏症或肌张力异常的病人接受神经立体定位手术。

If you can benefit from this book, it is our honour.

如果您能从本书获益，这将是我们的荣幸。