《红玫瑰与白玫瑰》是张爱玲作品中的一个独特的文本。
Red Rose and White Rose is a fantastic text of Zhang Ailing's novels.
阳台是张爱玲作品中的一种重要意象，在她的小说和散文中反复出现。
The balcony, an important image in the works of Zhang Ai-ling, appears repeatedly in her novels and prose.
张爱玲作品中具像化的人物和经验性的情节都表明她的创作一直受着传统小说的影响。
The concretized characters and experiential plots in Zhang Ailing's fiction indicate that her literary creation has all along been influenced by traditional fiction.
本文运用美国新精神分析学派学者卡伦·霍尔奈的人际防御策略理论对张爱玲作品中不同的人物类型进行分析。
This paper , by means of the scholar of new Psychoanalysis , Karen Horney"s defensive tactics among people approach , discuss different types of personality in Eileen Chang"s novel.
张爱玲作品中的爱情有其自身情感经历的投射，譬如像《心经》中的“恋父情结”，《色，戒》里与胡兰成恋爱的隐射等等。
Eileen Chang's works in the emotional experience of love has its own projection, such as the "Heart Sutra" in the "Electra complex", "Lust, Caution" in love with Hulan Cheng's cue, and so on.
张爱玲作品常被误读为古典式叙述 ，但通过对其小说集《传奇》的叙述视角、叙述话语模式和非叙事性话语的分析 ，可以显示出其艺术表现的现代性。
But, the artistic modernization of them can be shown through analysis the narrative vision, narrative words pattern and unnarrative words of her novel legend .
因为我也是一个文学爱好者，我希望自己能写出更多更好的作品，所以每当我为了文字烦恼的时候，“张爱玲”这三个字就成了我心中的明灯。
Because I am a literature fan, I hope I can write out more better works, so in I worried for characters, "Zhang Ailing" three words these become I bright lamp of heart.
本文主要从特殊环境、作品本身、特殊读者这三个方面来解读张爱玲现象。
The text is going to explain Zhang Ailing's phenomenon from these three respects: special environment, Zhang Ailing's themselves and some special readers.
除此之外，霍妮“对爱的病态需要理论”、斯腾伯格“爱情三角理论”等等，都在张爱玲的作品中得到了展现和验证。
"In addition, Horney" pathological need for love theory, "Sternberg" triangular theory of love, "etc.", are in the works of Eileen Chang has been demonstrated and validated.
男人如何安置自己的灵与肉，如何通过女人找到自己在世界上的位置，村上春树与张爱玲在各自的作品中给出了不同的思考。
Haruki Murakami and Eileen Chang had different ideas, in their own works, how man helps his own soul and flesh and how man, in relation to woman, finds his own ways in the world.
本文以女性主义翻译理论为基础，通过具体分析张爱玲的翻译作品，探讨她的女性主义翻译思想。
This thesis is devoted to a tentative exploration of Zhang Ailing's feminist thought in translation by applying the feminist translation theory.
现代作家张爱玲有三恨，其中之一就红楼未完，代表了作品问世以来广大读者的普遍痛憾心理。
Zhang Ailing the modern author ever had three hates, one of which was the Red Chamber to be further continued — a painful regret prevailed among the readers since its publication.
张爱玲在这部小说中以她的独特眼光描写了生活中的“饥饿”现象和“虚假性”，而这部作品的部分情节构成又令人遗憾地陷入了虚假性。
In this novel, Zhang Ailing manages to picture in a unique manner the "hunger" and "falsility" in life whereas some of its plots have been regretfully stained by some falsehood.
通过文本分析和与张爱玲相关传记和作品的对照，我们可以基本肯定《小团圆》的自传体小说的性质。
Trough the analysis of the text and the comparison with the works and biographies of Eileen Cheung, we can draw a conclusion that the Little Reunion is an autobiographically novel.
此外，作为一个双语作者，张爱玲曾经翻译了许多她自己的作品。
Furthermore, being a bilingual writer, Zhang Ailing has translated many of her works by herself.
另外，虽然张爱玲翻译了许多作家的作品，但很少是由她自己选取的。
Besides, though Zhang Ailing has translated works of many writers, few of them were her own choices.
在张爱玲的作品里，一个与众不同的特点在于她托起对物质生活和物质细节描绘的基石是“苍凉”的底蕴。
In Zhang Ailing's novels, the different characteristics from other authors are that she described the cornerstone of material life and material detail as bleak inner secret.
作为一个女性，张爱玲不时的在作品中对女性形象寄予了女性意识，这是张爱玲对女性自我觉醒肯定的一个表现。
As a woman, Ailing Zhang from time to time in the works of woman placed a female consciousness, which is Ailing Zhang on the performance of female self-awareness of one.
事实上，从某种程度上讲，张爱玲可以说是中国翻译领域中一个很典型的译者，因为她的翻译作品不仅涉及到语际翻译，还包括语内翻译和自译。
In some extent, Zhang Ailing is a typical translator in Chinese translation field, for her translation involved not only inter-lingual but also intra-lingual translation and self-translation.
本文得出以下结论：不管是张爱玲本人，还是作品中的人物，实际上都处于某种边缘。
In this thesis, I deduce the follow conclusions: all of figures, no matter Zhang herself or someone constructed by her in writings, in fact were on the verge.
本文得出以下结论：不管是张爱玲本人，还是作品中的人物，实际上都处于某种边缘。
In this thesis, I deduce the follow conclusions: all of figures, no matter Zhang herself or someone constructed by her in writings, in fact were on the verge.
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