身体的

Hence, while on the one hand the other so-called virtues of the soul seem to resemble those of the body, inasmuch as they really do not pre-exist in the soul, but are formed in it in the course of time by habit and exercise, the virtue of wisdom, on the other hand, does most certainly appertain, as it would appear, to a more divine substance which never loses its energy, but by change of position becomes useful and serviceable, or else remains useless and injurious.

所以说，人的灵魂之美德好像贴近于身体的优点，但身体的优点并不是身体本来就固有的，而是通过后天的努力训练或者习惯的养成而移植过去的。但是，心灵上的美德与智慧却具有一种永恒存在的神圣的东西。因为眼睛视力的取向不同，它会产生出两种各异的结果：一是变得有益而无害；一是变得有害而无益。

He said in his lecture in Changchun City on July 26, 1998,"In this universe, in the heaven world that used to have a lot of forms of cultivation and various spheres, 99.9% of people don't have their bodies." Again on September 3, 1998, he said in Geneva,"Some sects don't need body, the whole world will come into confusion if you bring body there." He further said,"Many of us think as common people. How good it is to fly into the sky! How good it is to let people see me flying! You are thinking the matter of the spirits with a heart of common people. It's impossible! When it's time for consummation, there is a way." Flying into the sky, the way of "consummation", has become a cloud-built magnificent scene, a ridiculous attachment, a bubble-like dream, and finally a cruel and tragic "consummation", like our "spectacles".

。这时与他前面所说的"都带着身体飞上天"是不同了。1998年9月4日在日内瓦，李洪志又说："有的法门要不要身体的，你给他身体，他整个世界的东西都给打乱了"……，"我们有许多人用常人的思想噢，这白日飞升多好啊，让人看我飞起来了，你是常人之心想神的事情，这是绝对不行的，就是说圆满的时候，自有圆满的办法"，这"圆满"的形式"白日飞升"，成了空想的辉煌壮举，成了妄想的执著心，成了泡影的梦想，最后等来的就是残酷而悲惨的"圆满"，就象我们一样的"壮观"。

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。

It was hard to think about anything except his legs,seeing how much they were forced upon his attention by their position under his nose as he sat in this ridiculours bath;they hung out at one end while his body protruded from the water at the other.it was only the middle portion of him,from his waist to above his knees,which was submerged,and that was bent almost double.hornblower found it irritating to have to take a bath in this fashion,although he tried not to allow it to irritate him,and he strove desperately to dismiss from his mind recollections of thousands of more confortable baths taken on the deck of a ship,under a wash-deck pump which threw over him unlimited quantities of stimulating sea-water.he seized his soap and flannel,and began viciously above the surface,and as he did so water slopped in quantities over the side on to the polished oak floor of his dressing-room.that meant trouble for a housemaid,and in hornblower's present mood he was glad to cause trouble.

坐在这可笑的浴盆里使他的注意力强迫被集中到那双腿上；它们悬挂在浴盆的一端同时使他的身体从另一端露出水面。只有他身体的中段，从腰到膝盖，淹没在水里，它们几乎成折叠状。这种洗澡的时尚让hornblower感到恼火，虽然他尽可能避免不让自己那样，但他无法不去想到那些成千上万在甲板上冲澡的爽快经历--大量的海水从冲洗甲板上的水管中喷涌而出，仿佛无穷无尽。他握着手中的肥皂和澡巾，开始邪恶的擦洗身体露出水面的部分，在洗的时候，大量的水溢出浴盆洒到橡木地板上流向他的更衣室。那意味着女佣的麻烦来了。但对于hornblower现在的心情来说，他乐于制造麻烦。

A forming die set, comprising: an extendable punch having a first impact surface comprising a plurality of piercing points; a die body containing an aperture adapted to receive said punch; a fixed opposing post having a second impact surface positioned within said aperture, said opposing post recessed below a surface of said die body; at least one forming bushing slideably engaging said opposing post and positioned between said opposing post and said die body; and at least one forming bushing actuator supporting said at least one forming bushing.

形成一钢模组，包含：一个可扩充的打洞器让一种第一种冲击升至水面包含一个刺骨点的多数；一个包含一个孔的一钢模身体适应接受说打洞器；有一个第二个冲击表面的固定反对职位放置在说的孔里面，说反对被在一个说的一钢模身体的表面下面作凹处的职位；至少一个形成桥衬可滑动动人说反对职位而且在说反对职位之间放置而且说一钢模身体而且至少一个支援的形成桥衬主动器至少说一个形成桥衬。

The splattering of color is physical in nature illustrated by gesture and power but also the delight of design.

这种&泼&画，同样是切身的，城市就是在这种泼的过程中得以诞生：这种泼借助于手，借助于身体的力量和姿态，表达了一种泼的快感，表达了身体的偶发快感――这是释放的快感，是宣泄，是流出，这是身体的切身快感；另一方面，这种泼又是一种建构，一种创造，一种生产，城市，正是借助于泼，借助于手的宣泄，而获得了自己的气质和风貌。

Therefore,Helene Cixous put up the deconstruction strategy-"Body Writing",with a body language to express the women's all experience of overall resistance to logocenterism.In the 1990s, Chen Ran and Lin Bai,two representative of a group of women writers,and boldly to women has long been accumulated in the body and suppress all taboos in the end of the discourse on the aesthetic.They fully tap the female body revolutionary and let the body writing become an important trend in female literary writing,extended to the beginning of the 21st century now,until it became a kind of fashion writing.Under the consumptive culture erosion,the body writing has exhausted any ideological resistance in female body and eventually became the most tempting symbol of consumption and consumption strategy in consumer society.

埃莱娜·西苏因此提出&身体写作&的解构策略，用一种身体的语言去表达妇女整体的，反抗逻各斯中心主义的全部体验。20世纪90年代，以陈染和林白为代表的一批中国女性作家，大胆地把长久以来积淀在女性躯体上的所有禁忌和压抑终结在了审美的叙事话语上，充分地挖掘了女性躯体的革命性，成为后来者从事女性写作绕不过的经验，同时也让身体写作成为一股女性文学的重要潮流，延续到21世纪初的现在，直至它成为一种写作的时尚，在消费文化的侵蚀下，耗尽了女性躯体所包蕴的任何意识形态反抗性，最终沦为消费社会最具诱惑性的消费符号和消费策略。

It is a further object of the invention to provide a method of assembly of a foldable plastic slider comprising a body having a depending separator finger and a pair of foldable wings, with a profiled plastic reclosable fastener particularly suited for thermoplastic bags for opening and closing the fastener comprising the steps of positioning a plastic bag having a plastic reclosable fastener along the top edges of the front and back faces of the bag to receive the foldable plastic slider in straddling relation, the fastener comprising a first interlocking element having a female fastener profile attached to one of the faces of the bag and a second interlocking element having a male fastener profile attached to the other face of the bag, inserting the plastic separator finger between the first and second interlocking elements, and forming the slider in straddling relation around the male and female fastener profiles at the top edges of the bag by folding the pair of wings downwardly toward the plastic separator finger and against the opposite sides of the body, and securing the pair of wings to the opposite sides of the body in fixed relation with the separator finger to form a pair of side walls for the slider whereby movement of the slider in one direction opens the fastener elements and movement in the opposite direction recloses the fastener elements.

资讯科技是提供一个组成一个有一只靠区分者手指和一双可折叠的翅膀身体的可折叠的塑料滑动器的一个集会的方法发明的一个较进一步的物体，由于一特别地描绘塑料的 reclosable 牢系工具轮廓为打开而且关闭组成放置一个沿着袋子的前面和后面脸的最高边缘有一个塑料的 reclosable 牢系工具在跨立关系方面接受可折叠的塑料滑动器的塑料袋子的步骤牢系工具为热后可塑性的袋子适合，组成一种第一的联锁元素的牢系工具对袋子的脸之一和一种第二种联锁的元素附上女性的牢系工具描绘附上男性的牢系工具描绘到另一个袋子面对，插入塑料的区分者手指在第一和秒联锁的元素之间，而且形成滑动器在向塑料的区分者手指向下地在折叠双翅膀旁边的袋子最高边缘在男性的和女性的牢系工具的周围跨立关系描绘方面和反对身体的相反边，而且固定到与区分者手指的固定关系的身体相反边的双翅膀为一个方向的滑动器的运动打开相反的方向牢系工具元素和运动的滑动器形成一双旁的墙壁再关牢系工具元素。

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。

He had teach them kungfu to increase the body's energy, strong body.

他教他们功夫，增加身体的能量，强壮身体。

Objective To investigate the effects of interleukin-1 β converting enzyme gene on the biologic characteristics of ovarian cancer cells.

目的 探讨白细胞介素-1 β转换酶的表达，对卵巢癌细胞生物学特性的影响。

Campylobacter: This illness is the most commonly identified cause of diarrheal illness in the world.

弯曲：这种病是最常见的原因查明腹泻病，在世界上。