欧宝娱乐

"It is fascinating and beautifully realised..." (275)

"I want to convey the richness of [her/his] thought." (315)

"[Her/His] perspective is rich and complex, trenchant and compelling..." (322)

"[She/He] has the ability to create individual scenes - whether actual or mythical, past or present, imagined or directly experienced - with a remarkable directness and luminous clarity." (334)

"The industrialisation of production, which transforms scientific knowledge into technology, creates new human environments and destroys old ones, speeds up the whole tempo of life, generates new forms of corporate power and class struggle; immense demographic upheavals, severing millions of people from their ancestral habitats, hurtling them half-way across the globe into new lives; rapid and often cataclysmic urban growth; systems of mass communication, dynamic in their development, enveloping and binding together the most diverse people and societies; increasingly powerful national states, bureaucratically structured and operated, constantly striving to expand their powers; mass social movements of people, and peoples, challenging their political and economic rulers, striving to gain some control over their lives; finally, bearing and driving all these people and institutions along, an ever-expanding, drastically fluctuating capitalist world market." (16)

"[The world-historical processes of Modernisation] have nourished an amazing variety of visions and ideas that aim to make men and women the subjects as well as the objects of modernisation, to give them the power to change the world that is changing them, to make their way through the maelstrom and make it their own...This book is a study in the dialectics of Modernisation and Modernism." (16)

"[Early Modernists] used Modernisation as a source of creative material and energy. Marx, Baudelaire and many others strove to grasp this world-historical process and appropriate it for mankind: to transform the chaotic energies of economic and social change into new forms of meaning and beauty, of freedom and solidarity; to help their fellow men and help themselves to become the subjects as well as objects of Modernisation." (174)

"All fixed, fast-frozen relations, with their train of ancient and venerable prejudices and opinions, are swept away, all new-formed ones become antiquated before they can ossify. All that is solid melts into air, all that is holy is profaned, and men at last are forced to face...the real conditions of their lives and their relations with their fellow men." (21)

"Modernists can never be done with the past: they must go on forever haunted by it, digging up its ghosts, recreating it even as they remake their world and themselves."

"The Modernism of the 1970s was distinguished by its desire and power to remember, to remember so much of what modern societies - regardless of what their ideologies and who their ruling classes are - want to forget. But when contemporary Modernists lose touch with and deny their own Modernity, they only echo the ruling class self-delusion that it has conquered the troubles and perils of the past, and meanwhile they cut themselves off, and cut us off, from a primary source of their own strength." (346)

"The culture of Modernism will go on developing new visions and expressions of life: for the same economic and social drives that endlessly transform the world around us, both for good and for evil, also transform the inner lives of the men and women who fill this world and make it go.

"The process of Modernisation, even as it exploits and torments us, brings our energies and imaginations to life, drives us to grasp and confront the world that Modernisation makes, and to strive to make it our own. I believe that we and those who come after us will go on fighting to make ourselves at home in this world, even as the homes we have made, the modern street, the modern spirit, go on melting into air." (348)

"Realism in literature and thought must develop into Modernism, in order to grasp the unfolding, fragmenting, decomposing and increasingly shadowy ealities of modern life." (257)

"So often the price of ongoing and expanding Modernity is the destruction not merely of 'traditional' and 'pre-Modern' institutions and environments but - and here is the real strategy - of everything most vital and beautiful in the Modern world itself." (295)

"One of the crucial tasks for Modernists in the 1960s was to confront the expressway world; another was to show that this was not the only possible modern world, that there were other, better directions in which the modern spirit could move." (313)

"There are more houses in the way...more people in the way...that's all."

"The Modernism of underdevelopment is forced to build on fantasies and dreams of Modernity, to nourish itself on an intimacy and a struggle with mirages and ghosts." (232)

"All forms of Modernist art and thought have a dual character: they are at once expressions of and protests against the process of Modernisation." (235)

鈥�...The [information highway] world, the modern environment that emerged after the [invention of the internet] would reach a pinnacle of power and self confidence in the [early 21st century]...the developers and devotees of the [information highway] presented it as the only possible modern world; to oppose them and their works was to oppose modernity itself, to fight history and progress, to be a Luddite, an escapist, afraid of life and adventure and change and growth. This strategy was effective because, in fact, the vast majority of modern men and women do not want to resist modernity: they feel its excitement and believe in its promise, even when they find themselves in its way鈥︹€�

To be modern is to live a life of paradox and contradiction. It is to be overpowered by the immense bureaucratic organizations that have the power to control and often to destroy all communities, value, lives; and yet to be undeterred in our determination to face those forces, to fight to change their world and make it our own. It is to be both revolutionary and conservative: alive to new possibilities (13) for experience and adventure, frightened by the nihilistic depths to which so many modern adventures lead, longing to create and to hold on to something even as everything melts (13-14).

Meanwhile, social scientists, embarrassed by critical attacks on their techno-pastoral models, have fled from the task of building a model that might be truer to modern life. Instead, they have split modernity into a series of separate components 鈥� industrialization, state-building, urbanization, development of markets, elite formation 鈥� and resisted any attempt to integrate them into a whole. This has freed them from extravagant generalizations and vague totalities鈥攂ut also from thought that might engage their own lives and works and their place in history (33-34)

Foucault鈥檚 totalities swallow up every facet of modern life. He develops these themes with obsessive relentlessness and, indeed, with sadistic flourishes, clamping his ideas down on his readers like iron bars, twisting each dialectic into our flesh like the turn of the screw (34).

Faust begins in an epoch whose thought and sensibility are modern in a way that twentieth-century readers can recognize at once, but whose material and social conditions are still medieval; the work ends in the midst of the spiritual and material upheavals of an industrial revolution. It starts in an intellectual鈥檚 lonely room, in an abstracted and isolated realm of thought; it ends in the midst of a far-reaching realm of production and exchange, ruled by giant corporate bodies and complex organizations, which Faust鈥檚 thought is helping to create, and which are enabling him to create more (39).

One of the most original and fruitful ideas in Goethe鈥檚 Faust is the idea of an affinity between the cultural ideal of self-development and the real social movement toward economic development (40).

Gretchen鈥檚 successors will get the point: where she stayed and died, they will leave and live. In the two centuries between Gretchen's time and ours, thousands of "little worlds" will be emptied out, transformed into hollow shells, while their young people head for great cities, for open frontiers, for new nations, in search of freedom to think and love and grow...Unwilling or unable to develop along with its children, the closed town will become a ghost town. Its victims' ghosts will be left with the last laugh (59).

...like Faust himself, 迟盲迟颈驳-蹿谤别颈, free to act, freely active. They have come together to form a new kind of community: a community that thrives not on the repression of free individuality in order to maintain a closed social system, but on free constructive action in common to protect the collective resources that enable every individual to become 迟盲迟颈驳-蹿谤别颈 (66).

It appears that the very process of development, even as it transforms a wasteland into a thriving physical and social space, recreates the wasteland inside the developer himself. This is how the tragedy of development works (68).

But there is another motive for the murder that springs not merely from Faust's personality, but from a collective, impersonal drive that seems to be endemic to modernization: the drive to create a homogenous environment, a totally modernized space, in which the look and feel of the old world have disappeared without a trace (68).

If we want to locate Faustian visions and designs in the aged Goethe's time, the place to look is not in the economic and social realities of that age but in its radical and Utopian dreams; and, moreover, not in the capitalism of that age, but in its socialism (72).

It is only in the twentieth century that Faustian development has come into its own. In the capitalist world it has emerged most vividly in the proliferation of "public authorities" and superagencies designed to organize immense construction projects, especially in transportation and energy... (74)

Faust's unfinished construction site is the vibrant but shaky ground on which we must all stake out and build up our lives (86).

We will soon see how the real force and originality of Marx's "historical materialism" is the light it sheds on modern spiritual life (88).

Marx can shine new light...he can clarify the relationship between modernist culture and the bourgeois economy and society--the world of "modernization"--from which it has sprung (90).

Although Marx identifies himself as a materialist, he is not primarily interested in the things that the bourgeoisie creates. What matters to him is the processes, the powers, the expressions of human life and energy: men working, moving, cultivating, communicating, organizing and reworking nature and themselves--the new and endlessly renewed modes of activity that the bourgeoisie brings into being (93).

Alas to the bourgeois' embarrassment, they cannot afford to look down the roads they have opened up: the great wide vistas may turn into abysses. They can go on playing their revolutionary role only by denying its full extent and depth. But radical thinkers and workers are free to see where the roads lead, and to take them. If the good life is a life of action, why should the range of human activities be limited to those that are profitable? And why should modern men, who have seen what men's activity can bring about, passively accept the structure of their society as it is given? Since organized and concerted action can change the world in so many ways, why not organize and work together and fight to change it still more? (94).

Our lives are controlled by a ruling class with vested interests not merely in change but in crisis and chaos. "Uninterrupted disturbance, everlasting uncertainty and agitation," instead of subverting the society, actually serve to strengthen it. Catastrophes are transformed into lucrative opportunities for redevelopment and renewal; disintegration works as a mobilizing and hence an integrating force (95).

If we look behind the sober scenes that the members of our bourgeoisie create, and see the way they really work and act, we see that these solid citizens would tear down the world if it paid (100).

But the problem is that, given the nihilistic thrust of modern personal and social development, it is not at all clear what political bonds modern men can create. Thus the trouble in Marx's thought turns out to be a trouble that runs through the whole structure of modern life itself (128).

When Marx says that other values are "resolved into" exchange value, his point is that bourgeois society does not efface old structures of value but subsumes them. Old modes of honor and dignity do not die; instead, they get incorporated into the market, take on price tags, gain a new life as commodities. Thus, any imaginable mode of human conduct becomes morally permissible the moment it becomes economically possible, becomes "valuable"; anything goes if it pays. This is what modern nihilism is all about (111).

How Marx 'develops the themes by which modernism will come to define itself: the glory of modern energy and dynamism, the ravages of modern disintegration and nihilism, the strange intimacy between them: the sense of being caught in a vortex where all facts and values are whirled, exploded, decomposed, recombined: a basic uncertainty about what is basic, what is valuable, even what is real; a flaring up of the most radical hopes in the midst of their radical negations (121).

He accepted modern man in his entirety, with his weakness, his aspirations and his despair. He had thus been able to give beauty to sights that did not possess beauty in themselves, not by making them romantically picturesque, but by bringing to light the portion of the human soul hidden in them; he had thus revealed the sad and often tragic heart of the modern city. That was why he haunted, and would always haunt, the minds of modern men, and move them when other artists left them cold (132).

...it opened up the whole of the city, for the first time in its history, to all its inhabitants. Now, at last, it was possible to move not only within neighborhoods, but through them. Now, after centuries of life as a cluster of isolated cells, Paris was becoming a unified physical and human space (151).

The archetypal modern man, as we see him here, is a pedestrian thrown into the maelstrom of modern city traffic, a man alone contending against an agglomeration of mass and energy that is heavy, fast and lethal. The burgeoning street and boulevard traffic knows no spatial or temporal bounds, spills over into every urban space, imposes its tempo on everybody's time, transforms the whole modern environment into a "moving chaos." The chaos here lies not in the movers themselves...but in their interaction, in the totality of their movements in a common space. This makes the boulevard a perfect symbol of capitalism's inner contradictions: rationality in each capitalistic unit, leading to anarchic irrationality in the social system that brings all these units together (157).

...poets will become more deeply and authentically poetic by becoming more like ordinary men. If he throws himself into the moving chaos of everyday life in the modern world -- a life of which the new traffic is a primary symbol -- he can appropriate this life for art (160).

For one luminous moment, the multitude of solitudes that make up the modern city come together in a new kind of encounter, to make a people. "The streets belong to the people": they seize control of the city's elemental matter and make it their own. For a little while the chaotic modernism of solitary brusque moves gives way to an ordered modernism of mass movement (164).

for most of our century, urban spaces have been systematically designed and organized to ensure that collisions and confrontations will not take place here. The distinctive sign of nineteenth-century urbanism was the boulevard, a medium for bringing explosive material and human forces together; the hallmark of twentieth-century urbanism has been the highway, a means for putting them asunder. We see a strange dialectic here, in which one mode of mdoernism both energizes and exhausts itself trying to annihilate another, all in modernism's name (165).

a will to wrestle to the end of his energy with modern life's complexities and contradictions, to find and create himself in the midst of the anguish and beauty of its moving chaos (170).

It is a desire to live openly with the split and unreconciled character of our lives, and to draw energy from our inner struggles, wherever they may lead us in the end. If we learned through modernism to construct halos around our spaces and ourselves, we can learn from another modernism -- one of the oldest but also, we can see now, one of the newest -- to lose our halos and find ourselves anew (171).

All that is solid melts into air, all that is sacred is profaned, and men at last are forced to face鈥� the real conditions of their lives and their relations with their fellow men.

The first point here is the immense power of the market in modern men鈥檚 inner lives: they look to the price list for answers to questions not merely economic but metaphysical - questions of what is worthwhile, what is honorable, even what is real. When Marx says that other values are 鈥榬esolved into鈥� exchange value, his point is that bourgeois society does not efface old structures of value but subsumes them. Old modes of honor and dignity do not die; instead, they get incorporated into the market, take on price tags, gain new life as commodities. Thus, any imaginable mode of human contact becomes morally permissible the moment it becomes economically possible, becomes 鈥榲aluable鈥�; anything goes if it pays. This is what modern nihilism is all about.

賴乇 丌賳趩賴 爻禺鬲 賵 丕爻鬲賵丕乇 丕爻鬲 丿賵丿 賲蹖 卮賵丿 賵 亘賴 賴賵丕 賲蹖 乇賵丿

卮乇丨 賲丿乇賳蹖鬲賴 乇丕 賲蹖 卮賵丿 丕夭 爻卅賵丕賱 賮賱爻賮蹖 賲丿乇賳蹖鬲賴 趩蹖爻鬲 責 卮乇賵毓 讴乇丿 蹖丕 丕夭 丿蹖丿诏丕賴 鬲丕乇蹖禺蹖 賲丿乇賳蹖鬲賴 趩诏賵賳賴 亘賴 賵噩賵丿 丌賲丿 責 蹖丕 夭賲蹖賳賴 丕噩鬲賲丕毓蹖 賲丿乇賳蹖鬲賴 趩乇丕 亘賴 賵噩賵丿 丌賲丿 責 蹖丕 亘爻蹖丕乇蹖 賲爻蹖乇賴丕蹖 丿蹖诏乇 賵賱蹖 賲丕乇卮丕賱 亘乇賲賳 亘丕 賯賱賲 卮蹖賵丕蹖 禺賵丿 乇丕賴蹖 乇丕 亘乇诏夭蹖丿 讴賴 亘賴 賳馗乇 賲賳 丿乇 賳诏丕賴 丕賵賱 讴賱丕跇蹖 賴賳乇蹖 丕爻鬲 丕賲丕 讴鬲丕亘貙 賮乇賲 丿蹖丕賱讴鬲蹖讴蹖 丿丕乇丿 賵 丿乇爻鬲 賵賯鬲蹖 亘丕 賴蹖噩丕賳 賵 鬲丨爻蹖賳 丕夭 賲丕乇讴爻 亘乇丕蹖 賲丕 賲蹖 诏賵蹖丿 趩賳丿 氐賮丨賴 亘毓丿 亘賴 賳賯丿 噩丿蹖 亘乇禺蹖 賳馗乇蹖丕鬲 丕賵 賲蹖 倬乇丿丕夭丿

亘乇賲賳 丿丕賳卮 賵爻蹖毓 禺賵丿 丿乇 鬲丕乇蹖禺 賵 噩丕賲毓賴 卮賳丕爻蹖 賵 賮賱爻賮賴 乇丕 賱夭賵賲賳 亘丕 鬲卅賵乇蹖 賵 丕毓丿丕丿 賵 丕乇賯丕賲 亘蹖丕賳 賳賲蹖 讴賳丿 亘賱讴賴 亘賴 丿丕禺賱 丿乇蹖丕蹖 賲丿乇賳蹖鬲賴 卮蹖乇噩賴 賲蹖 夭賳丿 賵 蹖丕 卮丕毓乇丕賳賴 鬲乇 亘诏賵蹖賲 丕夭 亘丕乇丕賳 賳賲蹖 诏賵蹖丿 禺賵丿 賲蹖 亘丕乇丿. 讴賲鬲乇 讴鬲丕亘蹖 乇丕 爻乇丕睾 丿丕乇賲 讴賴 丿乇 丨噩賲 400 氐賮丨賴 賴賲夭賲丕賳 亘賴 丕蹖賳 賴賲賴 卮毓乇 賵 賵 乇賲丕賳 賵 丌孬丕乇 賲毓賲丕乇蹖 賵 賳賯丕卮蹖 亘倬乇丿丕夭丿 賵 賴賲 賳馗乇蹖丕鬲 賮賱爻賮蹖 鈥� 爻蹖丕爻蹖 鈥� 丕噩鬲賲丕毓蹖 乇丕 丿乇 毓賲賯 亘爻胤 丿賴丿 賵 賴賲 丕鬲賵亘蹖賵诏乇丕賮蹖 亘丕卮丿 賵 賴賲 夭賳丿诏蹖賳丕賲賴 賵 賵賯丕蹖毓 丿賯蹖賯 鬲丕乇蹖禺蹖 . 丕蹖賳 讴鬲丕亘 蹖讴 賲賵夭賴 蹖 夭賳丿賴 丕爻鬲 卮賴乇 賮乇賳诏蹖 丕夭 賮乇賴賳诏 賵 鬲賱丕卮 賴丕蹖 丌丿賲蹖丕賳蹖 讴賴 賲丿乇賳蹖鬲賴 乇丕 亘乇 倬丕 讴乇丿賳丿. 鬲乇鬲蹖亘 賮氐賵賱 讴鬲丕亘 亘丕 丌賳讴賴 鬲丕乇蹖禺蹖 丕賳丿 賴賲夭賲丕賳 噩睾乇丕賮蹖丕蹖蹖 丿丕乇賳丿 賵 丿乇 毓蹖賳 丨丕賱 诏丕賴 亘丕 丨乇讴鬲 睾蹖乇禺胤蹖 丿乇 夭賲丕賳 讴丕乇蹖 賲蹖 讴賳丿 讴賴 丨賵氐賱賴 禺賵丕賳賳丿賴 (賲孬賱 鬲丕乇蹖禺 賳賯丿 丕丿亘蹖 乇賳賴 賵賱讴) 爻乇 賳乇賵丿. 亘賴 賳馗乇 賲賳 噩丕 丿丕乇丿 丕蹖賳 讴鬲丕亘 丿乇 鬲乇賲 丕賵賱 鬲賲丕賲 乇卮鬲賴 賴丕蹖 丿丕賳卮诏丕賴蹖 鬲丿乇蹖爻 卮賵丿 趩賵賳 匕賴賳 禺賵丕賳賳丿賴 乇丕 賳乇賲 賵 賲賳毓胤賮 賵 丌賲丕丿賴 賵 賲丿乇賳 賲蹖 讴賳丿 賵 亘賴 丕賵 賲蹖 丌賲賵夭丿 讴噩丕蹖 噩賴丕賳 丕蹖爻鬲丕丿賴. 卮丕蹖丿 噩丕賱亘 亘丕卮丿 讴賴 丨鬲蹖 趩賳丿 噩丕蹖 讴鬲丕亘 亘賴 鬲賴乇丕賳 賲丕 爻乇 賲蹖 夭賳丿 賵賱蹖 蹖讴 噩丕 亘賳丿 賳賲蹖 卮賵丿 賵 丕夭 亘乇賱蹖賳 亘賴 倬丕乇蹖爻 賵 爻賳 倬鬲乇夭亘賵乇诏 乇賮鬲賴 鬲丕 丿乇 丌禺乇 亘賴 賲丨賱賴 蹖 禺賵丿 賳賵蹖爻賳丿賴 丿乇 賳蹖賵蹖賵乇讴 賲蹖 乇爻丿. 亘乇賲賳 讴賲鬲乇 丕夭 蹖讴爻丕賱 倬蹖卮 賲乇丿 丕賲丕 诏賲丕賳 賲蹖 讴賳賲 丨丿丕賯賱 丿乇 噩乇蹖丕賳 乇賵卮賳賮讴乇蹖 賵 賲蹖丕賳 噩賵丕賳丕賳 賲丕 噩丕蹖诏丕賴 賲賲鬲丕夭蹖 丿丕乇丿 趩賳丕賳趩賴 賵賯鬲蹖 亘毓丿 丕夭 賲丿鬲蹖 亘丕夭 丕噩丕夭賴 鬲噩丿蹖丿 趩丕倬 賲蹖 诏蹖乇丿 馗乇賮 趩賳丿 乇賵 丿賵亘丕乇賴 賳丕蹖丕亘 賲蹖 卮賵丿.

賮氐賵賱 讴鬲丕亘 亘丕 卮乇丨 亘乇禺蹖 噩夭蹖蹖丕鬲 禺賵丕賳丿賴 禺賵丿賲 毓亘丕乇鬲賳丿 丕夭:
1- 賮丕賵爻鬲 诏賵鬲賴 (鬲乇丕跇丿蹖 鬲賵爻毓賴 賵 乇卮丿) (夭賲丕賳 : 賯乇賳 18鈥� 賲讴丕賳: 丌賱賲丕賳- 跇丕賳乇 讴賱丕跇: 卮毓乇 / 賳賲丕蹖卮賳丕賲賴 / 賳賯丿 爻蹖丕爻蹖-丕丿亘蹖)
鬲賮爻蹖乇 爻蹖丕爻蹖 亘乇賲賳 丕夭 賮丕賵爻鬲 诏賵鬲賴 亘爻蹖 丿賱賳卮蹖賳 丕爻鬲 賵賯鬲蹖 丕氐賱 卮毓乇 乇丕 賲蹖 禺賵丕賳丿賲 鬲賯賱丕蹖 夭蹖丕丿蹖 讴乇丿賲 賵 趩卮賲丕賳賲 乇丕 禺賵丕亘 诏乇賮鬲 鬲丕 讴鬲丕亘 乇丕 亘賴 倬丕蹖丕賳 亘乇爻丕賳賲 丕賲丕 賵賯鬲蹖 鬲賮爻蹖乇 亘乇賲賳 乇丕 丿蹖丿賲 亘丕 丕卮鬲蹖丕賯 亘賴 賴乇 噩丕 讴賴 丕卮丕乇賴 賲蹖 讴乇丿 賲蹖 倬乇蹖丿賲 賵 趩賳丿 亘丕乇 賲蹖 禺賵丕賳丿賲卮
賳賲賵賳賴 賲鬲賳: 毓氐乇 賲丕 毓氐乇 賮丕賵爻鬲蹖 丕爻鬲 賵 賴賲诏蹖 毓夭賲蹖 乇丕爻禺 丿丕乇蹖賲 鬲丕 倬蹖卮 丕夭 丌賳讴賴 丿禺賱 賴賲賴 賲丕賳 亘蹖丕蹖丿 禺丿丕 蹖丕 卮蹖胤丕賳 乇丕 賲賱丕賯丕鬲 讴賳蹖賲 賵 丌賳 乇诏賴 诏乇蹖夭賳丕倬匕蹖乇 丕氐丕賱鬲 蹖诏丕賳賴 讴賱蹖丿 賲丕 亘乇丕蹖 丕蹖賳 賯賮賱 丕爻鬲.
2- 賲丕乇讴爻 賵 賲丿乇賳蹖爻賲 賵 賲丿乇賳蹖夭丕爻蹖賵賳 (夭賲丕賳: 19 賯乇賳 賲讴丕賳: 丕乇賵倬丕 鈥� 跇丕賳乇 讴賱丕跇: 丕噩鬲賲丕毓蹖 / 鬲丕乇蹖禺蹖/ 賮賱爻賮蹖)
丕爻賲 賲丕乇讴爻蹖 丌丿賲 乇丕 蹖丕丿 賲丕乇讴爻蹖爻賲 賵 卮賵乇賵蹖 爻丕亘賯 賲蹖 丕賳丿丕夭丿 賵賱蹖 亘乇賲賳 賲丕乇讴爻 丿蹖诏乇蹖 乇丕 亘賴 賲丕 賳卮丕賳 賲蹖 丿賴丿 讴賴 鬲賳丿亘丕丿 賲丿乇賳蹖鬲賴 乇丕 賯亘賱 丕夭 爻丕蹖乇 噩丕賲毓賴 卮賳丕爻丕賳 賵 賮蹖賱爻賵賮丕賳 亘賴 丿賯鬲 乇氐丿 讴乇丿賴 賵 亘乇丕蹖 賲丕 丕夭 禺蹖丕賱 丿賵丿 卮丿賳 賵 賴賵丕 乇賮鬲賳 貙 禺賵丿鬲禺乇蹖亘蹖 丕亘丿丕毓蹖貙 亘乇賴賳诏蹖 賵 毓乇蹖丕賳蹖貙 丿诏乇丿蹖爻蹖 丕乇夭卮 賴丕 賵 丕夭 丿爻鬲 乇賮鬲賳 賴丕賱賴 鬲賯丿爻 賲蹖 诏賵蹖丿. 噩丕賱亘蹖 讴丕乇 亘乇賲賳 丿乇 趩蹖丿賳 丕蹖賳 賯胤毓賴 讴賳丕乇 賯胤毓賴 賴丕蹖 丿蹖诏乇 賲孬賱 丕夭 丿爻鬲 乇賮鬲賳 賴丕賱賴 鬲賯丿爻 亘賴 乇賵丕蹖鬲 亘賵丿賱乇 賵 賴賲趩賳蹖賳 賳賯丿 賵 鬲賲噩蹖丿 賴賲夭賲丕賳 丕夭 爻乇賲丕蹖賴 丿丕乇蹖 丿乇 亘禺卮 賮丕賵爻鬲 诏賵鬲賴 丕爻鬲.

3- 亘賵丿賱乇 賲丿乇賳蹖爻賲 丿乇 禺蹖丕亘丕賳 (夭賲丕賳: 賯乇賳 19 鈥� 賲讴丕賳: 倬丕乇蹖爻 鈥� 跇丕賳乇 讴賱丕跇: 賲毓賲丕乇蹖 / 卮賴乇爻丕夭蹖 / 卮毓乇)
卮丕蹖丿 亘乇丕蹖 賲丕蹖蹖 讴賴 卮丕毓乇丕賳賲丕賳 亘蹖卮鬲乇 丿乇 丿賴 賵 讴賵趩賴 亘丕睾 噩丕 賲丕賳丿賴 丕賳丿 乇丕亘胤賴 亘蹖賳 卮賴乇 賵 卮毓乇 趩賳丿丕賳 賲賱賲賵爻 賳亘丕卮丿 丕賲丕 亘乇賲賳 丿乇 丕蹖賳 賮氐賱 賴賳乇賲賳丿丕賳賴 丕蹖賳 乇丕亘胤賴 亘蹖賳 亘賱賵丕乇賴丕蹖 賴賵爻賲丕賳蹖 倬丕乇蹖爻 賵 卮毓乇 亘賵丿賱乇 乇丕 賳卮丕賳 賲蹖 丿賴丿. 卮毓乇 诏賱 賵 賱丕蹖 禺蹖丕亘丕賳 讴賴 丿乇 丌賳 卮丕毓乇蹖 賴丕賱賴 鬲賯丿爻 丕卮 夭賲蹖賳 賲蹖 丕賮鬲丿 丿乇 毓蹖賳 胤賳夭 倬乇賲丕蹖賴 賵 亘乇賳丿賴 乇诏賴 蹖 賳丕亘蹖 丕夭 賵丕賯毓蹖鬲 丿丕乇丿 賵 賲丕 乇丕 蹖丕丿 乇蹖蹖爻 噩賲賴賵乇 倬蹖卮蹖賳賲丕賳 賲蹖 丕賳丿丕夭丿 讴賴 賴丕賱賴 丕卮 乇丕 丕夭 诏賲 讴乇丿. 丿賵 倬丕乇丕诏乇丕賮 噩丕賱亘 丕夭 丕蹖賳 賮氐賱 乇丕 毓蹖賳賳 賳賯賱 賲蹖 讴賳賲:
丕賵 (賳賯丕卮 夭賳丿诏蹖 賲丿乇賳) 丕夭 讴丕賱爻讴賴 賴丕蹖 夭蹖亘丕 賵 丕爻亘丕賳 賲睾乇賵乇 亘賴 賵噩丿 賲蹖 丌蹖丿貙 丕夭 丌乇丕爻鬲诏蹖 禺蹖乇賴 讴賳賳丿賴 賳賵讴乇賴丕貙 噩賱丿蹖 賵 趩丕亘讴蹖 倬丕丿賵賴丕貙 诏丕賲 賴丕蹖 禺乇丕賲丕賳 賵 倬蹖趩丕賳 夭賳丕賳貙 賵 夭蹖亘丕蹖蹖 讴賵丿讴丕賳 讴賴 丕夭 夭賳丿賴 亘賵丿賳 賵 丌乇丕爻鬲诏蹖 噩丕賲賴 蹖 禺賵蹖卮 禺賵卮丨丕賱賳丿. 丿乇 蹖讴 讴賱丕賲 丕賵 丕夭 讴賱 夭賳丿诏蹖 亘賴 賵噩丿 賲蹖 丌蹖丿. 丕诏乇 賲丿 蹖丕 亘乇卮 賱亘丕爻蹖 禺丕氐 丕賳丿讴蹖 丿爻鬲讴丕乇蹖 卮丿賴 亘丕卮丿貙 丕诏乇 賳賵丕乇 倬乇賵丕賳賴 丕蹖 蹖丕 賮乇丿丕乇 噩丕蹖 禺賵丿 乇丕 亘賴 诏賱 賳賵丕乇 丿丕丿賴 亘丕卮丿貙 丕诏乇 丕賳丿丕夭賴 亘丕賵賱賴 賴丕 亘夭乇诏 卮丿賴 亘丕卮丿 賵 卮蹖賳蹖賵賳賴丕 丕賳丿讴蹖 亘賴 爻賲鬲 倬爻 诏乇丿賳 倬丕蹖蹖賳 丌賲丿賴 亘丕卮丿貙 丕诏乇 讴賲乇 賱亘丕爻 賴丕 亘丕賱丕鬲乇 乇賮鬲賴 賵 丿丕賲賳賴丕 丕賮卮丕賳鬲乇 卮丿賴 亘丕卮賳丿貙 賲胤賲卅賳 亘丕卮蹖丿 丕夭 趩卮賲丕賳 毓賯丕亘 诏賵賳賴 蹖 丕賵 倬賳賴丕賳 賳禺賵丕賴丿 賲丕賳丿.
亘乇丕蹖 禺賱賯 鬲氐丕賵蹖乇 丨賲丕爻蹖 賴蹖趩 讴賲亘賵丿蹖 亘賴 賱丨丕馗 賲囟丕賲蹖賳 亘丕 乇賳诏 賴丕 賵噩賵丿 賳丿丕乇丿. 丌賳 賳賯丕卮 丨賯蹖賯蹖 讴賴 賲丕 丿乇 噩爻鬲噩賵蹖 丕賵 賴爻鬲蹖賲貙 讴爻蹖 丕爻鬲 讴賴 亘鬲賵丕賳丿 丕夭 丿賱 夭賳丿诏蹖 丕賲乇賵夭蹖 禺氐賱鬲 丨賲丕爻蹖 丌賳 乇丕 亘蹖乇賵賳 讴卮丿 賵 丕蹖賳 丨爻 乇丕 丿乇 賲丕 亘乇丕賳诏蹖夭丿 讴賴 賲丕 (丌丿賲蹖丕賳 賲丿乇賳) 亘丕 讴乇賵丕鬲 賴丕 賵 趩讴賲賴 賴丕蹖 趩乇賲蹖 賲丕賳 趩賯丿乇 亘丕卮讴賵賴 賵 卮丕毓乇丕賳賴 丕蹖賲. 亘丕卮丿 讴賴 爻丕賱 賴丕 亘毓丿 噩賵蹖賳丿诏丕賳 丨賯蹖賯蹖 賴賳乇 賵噩丿 賵 卮毓賮 賮賵賯 丕賱毓丕丿賴 賳賴賮鬲賴 丿乇 爻鬲丕蹖卮 丕夭 馗賴賵乇 丕賲乇 賳賵 乇丕 亘乇丕蹖賲丕賳 亘賴 丕乇賲睾丕賳 丌賵乇賳丿.
4- 倬鬲乇夭亘賵乇诏 賲丿乇賳蹖爻賲 鬲賵爻毓賴 賳蹖丕賮鬲诏蹖 (夭賲丕賳: 賯乇賳 賴丕蹖 19 賵 20賲讴丕賳 : 倬鬲乇夭亘賵乇诏 鈥� 跇丕賳乇 讴賱丕跇: 鬲丕乇蹖禺 / 噩丕賲毓賴 卮賳丕爻蹖 / 爻蹖丕爻蹖 / 乇賲丕賳 / 卮毓乇 賵 賲毓賲丕乇蹖 )
丕蹖賳 賮氐賱 亘蹖 賳馗蹖乇 讴賴 賳氐賮 丨噩賲 讴鬲丕亘 乇丕 丿乇 亘乇 丿丕乇丿 亘蹖 丕賳丿丕夭賴 亘賴 鬲丕乇蹖禺 賵 賳賵丕乇 卮讴爻鬲 賴丕 賵 亘乇禺丕爻鬲賳 賴丕蹖 鬲丕乇蹖禺蹖 賲丕 丕夭 賲卮乇賵胤賴 鬲丕 讴賳賵賳 賳夭丿蹖讴 丕爻鬲. 蹖丕丿賲 丕爻鬲 賵賯鬲蹖 倬丕乇爻丕賱 亘乇丕蹖 倬賳噩賲蹖賳 亘丕乇 丕蹖賳 讴鬲丕亘 乇丕 賲蹖 禺賵丕賳丿賲 賵 亘丕 丿賵爻鬲丕賳 乇丕噩毓 亘賴 丕卮 诏倬 賲蹖 夭丿蹖賲貙 倬蹖卮賳賴丕丿 丿丕丿賲 亘賴 胤賵乇 鬲胤亘蹖賯蹖 鬲丕乇蹖禺 賲毓丕氐乇 丕蹖乇丕賳 乇丕 賴賲 亘禺賵丕賳蹖賲 讴賴 亘賴 胤乇夭 卮诏賮鬲 丕賳诏蹖夭蹖 亘丕 賳馗乇蹖丕鬲 賲胤乇丨 卮丿賴 丿乇 丕蹖賳 賮氐賱 噩賵乇 丿乇 賲蹖 丌賲丿. 亘乇丕蹖 丕夭 亘蹖賳 賳乇賮鬲賳 卮蹖乇蹖賳蹖 丕蹖賳 亘禺卮 鬲賵囟蹖丨 亘蹖卮鬲乇蹖 賳賲蹖 丿賴賲 賮賯胤 丌賳讴賴 丌賳趩賴 丕夭 丕丿亘蹖丕鬲 乇賵爻蹖賴 丕夭 倬賵卮讴蹖賳 賵 诏賵诏賵賱 賵 丿丕爻鬲丕蹖賵賮爻讴蹖 賵 亘丕蹖賱蹖 丿乇 毓乇囟 丕蹖賳 150 氐賮丨賴 禺賵丕賳丿賲 賯丕亘賱 賲賯丕蹖爻賴 亘丕 賴夭丕乇丕賳 賲乇丕噩毓 賲卮丕亘賴 丕夭 讴丕乇 禺賵亘 禺卮丕蹖丕乇 丿蹖賴蹖賲蹖 鬲丕 氐丨亘鬲 賴丕蹖 丌鬲卮 亘乇 丌亘 賳亘賵丿 毓賱丕賵賴 亘乇 丌賳讴賴 賮乇賲 讴賱丕跇诏賵賳賴 讴鬲丕亘 丿乇 丕蹖賳 賮氐賱 丿乇禺卮丕賳 丕爻鬲 賵 鬲賲丕賲 鬲讴賴 賴丕蹖 馗丕賴乇賳 亘蹖 乇亘胤 亘丕 賳禺蹖 賳丕賲乇卅蹖 亘賴 賴賲 賵氐賱 賲蹖 卮賵賳丿.
賳賲賵賳賴 丕蹖 丕夭 卮乇丨 诏賵诏賵賱 丕夭 亘賱賵丕乇 賳賵爻讴蹖 讴賴 賯丕亘賱 賲賯丕蹖爻賴 賵 鬲胤亘蹖賯 亘丕 亘賱賵丕乇賴丕蹖 賴賵爻賲丕賳蹖 賮氐賱 亘賵丿賱乇 丕爻鬲:
丿乇 丕蹖賳噩丕 賲蹖 鬲賵丕賳 爻亘蹖賱 賴丕蹖 卮诏賮鬲 丌賵乇蹖 蹖丕賮鬲 讴賴 賯賱賲賵蹖 賴蹖趩 賳賯丕卮蹖 賯丕丿乇 亘賴 鬲賵氐蹖賮 賵 鬲氐賵乇卮丕賳 賳蹖爻鬲. 爻亘蹖賱 賴丕蹖蹖 讴賴 亘賴鬲乇蹖賳 爻丕賱 賴丕蹖 毓賲乇 蹖讴 丕賳爻丕賳 賵賯賮 倬乇賵乇卮 丌賳 卮丿賴 丕爻鬲貙 丌賳 賴賲 亘賴 賱胤賮 乇賵夭賴丕 賵 卮亘 賴丕 賲乇丕賯亘鬲 賵 倬丕爻丿丕乇蹖 胤賵賱丕賳蹖... 丿乇 丕蹖賳噩丕 賲蹖 鬲賵丕賳 賴夭丕乇丕賳 诏賵賳賴 蹖 賲禺鬲賱賮 丕夭 讴賱丕賴 賴丕 貙 丿丕賲賳 賴丕 貙 賵 丿爻鬲賲丕賱 賴丕蹖 馗乇蹖賮 夭賳丕賳賴 蹖 禺賵卮乇賳诏 賵 讴賵趩讴 蹖丕賮鬲 讴賴 诏賴诏丕賴 亘乇丕蹖 丿賵 乇賵夭 讴丕賲賱 賲丨亘賵亘 氐丕丨亘丕賳 禺賵蹖卮 亘丕賯蹖 賲蹖 賲丕賳賳丿. 趩賳丕賳 賲蹖 賳賲丕蹖丿 讴賴 诏賵蹖蹖 丿乇蹖丕蹖蹖 丕夭 倬乇賵丕賳賴 賴丕 賳丕诏賴丕賳 丕夭 氐丿賴丕 卮丕禺賴 蹖 诏賱 亘賴 賴賵丕 亘乇禺賵丕爻鬲賴 丕爻鬲 賵 賴賲趩賵賳 丕亘乇蹖 鬲丕亘賳丕讴 亘乇 賮乇丕夭 爻乇 爻賵爻讴 賴丕蹖 爻蹖丕賴 噩賳爻 賲匕讴乇 賲賵噩 賲蹖 夭賳丿. 丿乇 丕蹖賳噩丕 讴賲乇賴丕蹖蹖 蹖丕賮鬲 賲蹖 卮賵丿 讴賴 丕賳爻丕賳 锟斤拷鬲蹖 亘賴 禺賵丕亘 賴賲 賳丿蹖丿賴 丕爻鬲. 讴賲乇賴丕蹖蹖 趩賳丕賳 賳丕夭讴 讴賴 丌丿賲蹖 亘丕 賲卮丕賴丿賴 蹖 丌賳賴丕 丿趩丕乇 鬲乇爻 賵 賱乇夭 賲蹖 卮賵丿 讴賴 賲亘丕丿丕 鬲賳賮爻 睾蹖乇賲丨鬲丕胤丕賳賴 丕卮 丌爻蹖亘蹖 亘賴 丕蹖賳 馗乇蹖賮 鬲乇蹖賳 丕孬乇 胤亘蹖毓鬲 賵 賴賳乇 亘乇爻丕賳丿. 賵 趩賴 亘诏賵蹖賲 丿乇亘丕乇賴 丌爻蹖鬲蹖賳 賴丕蹖 夭賳丕賳賴 丕蹖 讴賴 丿乇 亘賱賵丕乇 賳賵爻讴蹖 蹖丕賮鬲 賲蹖 卮賵丿! 丌爻鬲蹖賳 賴丕蹖蹖 倬賮 讴乇丿賴 賳馗蹖乇 丿賵 亘丕賱賵賳貙 讴賴 丕诏乇 丌賯丕蹖 賲鬲卮禺氐蹖 氐丕丨亘 丌賳賴丕 乇丕 賲丨讴賲 賳诏蹖乇丿貙 趩賴 亘爻丕 讴賴 禺丕賳賲蹖 賳丕诏賴丕賳 亘賴 賴賵丕 亘賱賳丿 卮賵丿.丿乇 丕蹖賳噩丕 賲蹖 鬲賵丕賳 賱亘禺賳丿賴丕蹖 賲賳丨氐乇 亘賴 賮乇丿蹖 蹖丕賮鬲 讴賴 賲丨氐賵賱 賵丕賱丕鬲乇蹖賳 賳賵毓 賴賳乇丕賳丿.
丕丨鬲賲丕賱賳 丕诏乇 噩賳丕亘 诏賵诏賵賱 倬丕蹖卮 亘賴 賲蹖丿丕賳 鬲噩乇蹖卮 蹖丕 賴賮鬲 丨賵囟 賵 禺蹖丕亘丕賳 賵賱蹖毓氐乇 賲蹖 乇爻蹖丿 賵 丌賳趩賴 丿蹖丿賴 亘賵丿 乇丕 亘丕 爻亘讴 爻賵乇卅丕賱 禺賵丿 卮乇丨 賲蹖 丿丕丿 賲丕 氐丕丨亘 丕丿亘蹖丕鬲 睾賳蹖 鬲乇 賵 夭賳丿賴 鬲乇蹖 賲蹖 卮丿蹖賲.
5- 丿乇 噩賳诏賱 賳賲丕丿賴丕: 賳讴丕鬲蹖 倬蹖乇丕賲賵賳 賲丿乇賳蹖爻賲 丿乇 賳蹖賵蹖賵乇讴 (夭賲丕賳: 賯乇賳 亘蹖爻鬲賲 鈥� 賲讴丕賳 賳蹖賵蹖賵乇讴 鈥� 跇丕賳乇 讴賱丕跇: 卮賴乇卮賳丕爻蹖/ 丕丿亘蹖丕鬲 / 賳賯丕卮蹖 / 賲噩爻賲賴 爻丕夭蹖/ 爻蹖丕爻蹖 / 丕噩鬲賲毓丕蹖 / 賮乇賴賳诏蹖 / 鬲丕乇蹖禺蹖)
賵賯鬲蹖 亘乇賲賳 乇賵爻蹖賴 賳乇賮鬲賴 丕蹖賳 賯丿乇 禺賵亘 丕夭 賯乇賳 19 丌賳 卮賴乇 賲蹖 诏賮鬲 賵丕囟丨 丕爻鬲 丕夭 噩丕蹖蹖 丿賳蹖丕 丌賲丿賴 賵 夭賳丿诏蹖 讴乇丿賴 賴賲 亘爻蹖丕乇 卮丕蹖爻鬲賴 亘乇丕蹖 賲丕 乇賵丕蹖鬲 禺賵丕賴丿 讴乇丿 丕夭 卮賴乇丿丕乇 乇丕亘乇鬲 賲賵夭夭 賵 賲毓賲丕乇丕賳蹖 賳馗蹖乇 賱賵讴賵乇亘賵夭蹖賴 賵 噩蹖賲夭 賲乇蹖賱 鬲丕 诏蹖賳夭亘乇诏 讴賴 夭賵夭賴 賲蹖 讴卮丿: 讴丿丕賲 賴蹖賵賱丕蹖 爻蹖賲丕賳 賵 丌賱賵賲蹖賳蹖賵賲 噩賲噩賲賴 賴丕蹖卮丕賳 乇丕 卮讴丕賮鬲 賵 賲睾夭 賵 鬲禺蹖賱 卮丕賳 乇丕 禺賵乇丿賴 責 ... 賲賱賵讴 讴賴 亘賳丕賴丕蹖卮 丨讴賲 賳賴丕蹖蹖 丕賳丿 ...

讴賴 賲丕 乇丕 賮賵乇蹖 蹖丕丿 丌賯丕蹖 卮賴乇丿丕乇 禺賵丿賲丕賳 賲蹖 丕賳丿丕夭丿