首先，我列出了一个名人的清单，他们有的还活着，有的已经去世，有的是虚构的，有的是真实存在的，有的出自我所在的行业，也有的不是——都是我所敬佩的人。
First, I made a list of role models—people alive or dead, fictional or historical, in my industry or not, who I admire.
塞缪尔·约翰逊在评莎翁的时候说：“悲剧的乐趣是来自我们对其虚构性的意识；如果我们认为谋杀和背叛都是真的，那它们就再不会带来乐趣了。”
Samuel Johnson, writing about Shakespeare, said: "The delight of tragedy proceeds from our consciousness of fiction; if we thought murders and treasons real, they would please no more."
人就是这样，喜欢活在自己虚构的世界里，自我畅想，孤芳自赏。
Is one such person, likes to live in their own world of fiction, self-Imagination, fit of narcissism.
文学虚构不但能够满足人类的审美交流需要，还能满足我们超越现实、超越自我和扩展自我的需要。
Fictitiousness meets not only the need of human aesthetic communication but also the need of transcending the reality and the self and expanding the self.
小说的语言具有一种自我讨论和自我指涉，构成一种对小说虚构的消解，同时作品还把解构和颠覆的矛头指向了语言本身；
The language is featured by self-discussion and reference that constitute a dissolution of the fiction and meanwhile becomes the object of the deconstruction and toppling.
塞缪尔·约翰逊在评莎翁的时候说：“悲剧的乐趣是来自我们对其虚构性的意识；
Samuel Johnson, writing about Shakespeare, said: "The delight of tragedy proceeds from our consciousness of fiction;"
塞缪尔·约翰逊在评莎翁的时候说：“悲剧的乐趣是来自我们对其虚构性的意识；
Samuel Johnson, writing about Shakespeare, said: "The delight of tragedy proceeds from our consciousness of fiction;"
应用推荐