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女性作者
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  female authors
     XiaoHong and ChiZijian are female authors from the black soil in northeast. Their novel shows culture intension in the Black soil full of the emotional smell of the native land.
     萧红和迟子建是东北黑土地上两位女性作者,她们的小说作品,展示了黑土地的文化内涵,洋溢着浓郁的乡土抒情气息。
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     Yu Tai Xin Yong is an overall collection of poetry compiled by Xu Ling in China's South dynasty,660 poems all describe female,in which the female authors' works express feelings and experiences of women from the female perspective with distinctive style female.
     《玉台新咏》是我国南朝徐陵编撰的一部诗歌总集,660首诗全部以女性为描写对象,其中女性作者的作品从女性视角表达了女性的生活和情感遭遇,具有鲜明的女性风格;
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  female writers
     4.Experimental writing: female writers express the lives of genders and human in avant-garde article forms, presenting new meanings and new narrating discourse of prose.
     4.实验性写作:女性作者以先锋性的艺术形式表达性别与人类生存意识,展现女性散文新的内涵与叙事话语。
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     The texts of female prose in 1 990s are generally divided into four types: 1 .Examined by gender-consciousness: female writers express the query and revolt against the discourse of men rights, forming the discourse of females selves by individual narration and body language writing;
     90年代女性散文文本可大致分为四种形态:1.性别意识审视:女性作者表达对男权话语的质疑与反叛,以个人化叙说或躯体语言写作来建构散文的女性话语;
短句来源
     With so many temptations and traps presented by the commercial book market and the "anti-female" image built up by female writers themselves of their works, women's literature cannot help but face up to the challenge for purification of ideology, experience and the arts.
     面对商品图书市场的种种诱惑与陷阱,无论是女性作者还是女性文本,所建立起来的“反女性”形象的事实,向女性文学提出思想、经历和艺术净炼的问题。
短句来源
     3 .Writing on daily life: female writers express their thoughts and emotions freely dissociating from the main ideology discourse, being humanely concerned about the common custom of city people lives;
     3.日常生活的书写:女性作者游离于主流意识形态话语,自由自在表达自己的思想与情感,给予都市人世俗生存的一种人文关怀;
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     2.Observed by cultureconsciousness: female writers write themselves, and humanely concerning the outer world, express the intention of realizing the unite of female selves and social roles;
     2.文化意识观照:女性作者书写自我的同时,以浓厚的人文关怀意识关注自身与外部世界,表达女性自我与社会角色统一的主旨;
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  “女性作者”译为未确定词的双语例句
     The values of BMD in women is highter than that men before 50 years. The statistical values of BMD thst under 100mg/cm~3 were 35.5% in women of 50—59 years. 72.4% in women of 60~69 years and 45% in men of over 60 years.
     在50岁以前女性骨密度高于男性,50岁以后男性高于女性,作者统计骨密度低于100mg/cm~3者,50~59岁女性占35.5%,60~69岁女性占72.4%,男性60岁以上者占45%。
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     With female rebels in literature ranging from the fleeing "Nalas" during the May-Forth movement, to the "Iron Ladies" and "Strong-willed women", until the collection of many "Crazy women" at the end of the 20th century, feminist writers have exhausted their imagination to furnish their female protagonists with an opportunity of rebellion and freedom in the most realistic sense.
     文学描写中的女性叛逆者形象从五四时期出走和逃离的“娜拉”开始,到投身国民革命运动中“铁姑娘”、“女强人”模式,至二十世纪末文学中众多“疯女人”形象的集结,女性作者已经穷尽了她们想象力,并以其最大的现实可能性,给予女性主角一个个反叛和自由的机会与结局。
短句来源
     Feeling the necessity of counteracting the prejudice of white society against a black female author, Jacobs utilizes and rectifies the prevelant literaray modes, i.e. the black narrative, suduction novel, and domestic novel, and creates a new type of slave narrative with a subversive narrative strategy.
     也为了破除白人社会对于黑人女性作者的偏见和怀疑 ,雅各布斯借鉴、修正了当时流行的黑人奴隶叙事、引诱小说、白人中产阶级家庭小说等文学样式 ,因而创作出一个具有颠覆性叙事策略的新型奴隶叙事文本。
短句来源
     If we want completely to form and built the Chinese literature history ,we must raise the position given to woman's writers objectively.
     要想全面构建中国文学史,就必须客观地展现女性作者在文学史上的应有地位。
短句来源
     The former is an expression of feminist subject consciousness,while the latter is often considered as a narrative strategy under the pressure of masculine hegemony.
     前者是女权主义者所提倡的女性主体意识的表现,而后者被理解为女性作者在男性霸权下的文本叙事策略。
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  female authors
Similarly, al-Samman, who writes from an existentialist view, reaches Arab male and female readers and ranks highly among the most read Arab female authors.
      
The research on college students published between 1969 and 1983 in eleven periodicals was used to examine the substantive topics and research methods preferred by male and female authors.
      
An inverse square power relationship characterizes the distribution pattern for the data set of female authors in all journals and for scientists of both sexes whose contributions appeared in national journals.
      
Unstructured interviews were conducted with divorced individuals by both the male and female authors.
      
Only one variable showed a significant difference between male and female authors: men wrote more vividly about the face than women did There were some historical trends in the description of nonverbal behavior and emotion.
      
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  female writers
More specifically, this literary movement has the active participation of young female writers, who still must avoid obstacles in order to legitimize a space in a patriarchal and machista society such as Cuba's.
      
However, the distribution of male and female characters, roles, and attributes differed with male and female writers.
      
Female writers included significantly more female characters and assigned more attributes and roles to these characters.
      
Nevertheless, in the stories of both male and female writers, there was a predominance of male characters and assignment of attributes and roles to male characters.
      
Discriminant analyses showed language differences between the male and the female writers at all three grade levels, differences that permitted 84 to 87% accuracy of gender prediction.
      
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The literary hotspot about the female sex and privatization aroused by Private Life in the 1990s is, as a matter of fact, something concocted jointly by the commercial and media circles in order to arouse in consumers the desire to nose into other people's privacies. They do so for the purpose of suiting to the male sex's palate and directing people's attention to one's personal space, thereby extending privacies to become the public topic of conversation and, through relegating the female sex to a multipurpose...

The literary hotspot about the female sex and privatization aroused by Private Life in the 1990s is, as a matter of fact, something concocted jointly by the commercial and media circles in order to arouse in consumers the desire to nose into other people's privacies. They do so for the purpose of suiting to the male sex's palate and directing people's attention to one's personal space, thereby extending privacies to become the public topic of conversation and, through relegating the female sex to a multipurpose doll or a symbol of desire, building up an ad image intended to provoke or meet consumers' desire to spy on personal secrets. The hypernormal publication craze for "privacy" literature and the publicity given to "beauty writers" at the dawn of this century are also something created for the commercial book market with sex and "privacy" as a bait. With so many temptations and traps presented by the commercial book market and the "anti-female" image built up by female writers themselves of their works, women's literature cannot help but face up to the challenge for purification of ideology, experience and the arts.

20世纪90年代中,由《私人生活》引出的关于女性与私人化的所谓文学热点,实际上是商家与传媒合谋,制造出来的挑动消费者窥私欲望的卖点。目的在于按照男性的趣味,将大众的视线引入私人空间,个人隐私再放大为公共话题,通过把女性沦为多功能的玩偶和欲望符码,建立起满足和挑动消费者窥私欲望的广告形象。此后,“隐私”作品的超常出版热,以及本世纪初对“美女作家”的热炒,也都是以性别及“隐私”诱惑来制造的商品图书市场的卖点。面对商品图书市场的种种诱惑与陷阱,无论是女性作者还是女性文本,所建立起来的“反女性”形象的事实,向女性文学提出思想、经历和艺术净炼的问题。

To denounce the cruel sexual exploitation of women in slavery, Harriet Jacobs touches upon a forbidden subject by recounting her own experience which violates the social norms of morality. Feeling the necessity of counteracting the prejudice of white society against a black female author, Jacobs utilizes and rectifies the prevelant literaray modes, i.e. the black narrative, suduction novel, and domestic novel, and creates a new type of slave narrative with a subversive narrative strategy.

为了控诉奴隶制对于女奴的性压迫 ,哈里特·雅各布斯以描述自己违反了社会道德观的独特经历打破了文学创作的禁区。也为了破除白人社会对于黑人女性作者的偏见和怀疑 ,雅各布斯借鉴、修正了当时流行的黑人奴隶叙事、引诱小说、白人中产阶级家庭小说等文学样式 ,因而创作出一个具有颠覆性叙事策略的新型奴隶叙事文本。

Love and marriage are the permanent theme of the women writers'.Due to the history and society,women writers at different times hold various views about it,which leads to various works and stories about love and marriage.Exemplifying women writers' works in Feudal period,"May 4th" period and modern period of China,the author explicated the changing process of theme of love and marriage

爱情婚姻题材历来是女性作者永恒的创作题材 ,但是由于历史和社会的原因 ,不同时代的女性作者对于爱情婚姻的要求和理解也各不相同 ,这就形成了不同时代女作者笔下爱情婚姻主题的差异 ,本文以封建社会、”五四”时期、新时期为楔入点 ,试图说明女性作者爱情婚姻主题的嬗变过程。

 
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