第一篇：從相冊中窺測女孩性格等

照片中穿著暴露，身材性感，服飾的檔次和品位較低。背景多為酒店客房里的酒柜前、床上或是浴室里，她們絕不會做類似非主流的標(biāo)志性造型，但眼神挑逗，笑容浪蕩，甚至一副性******過后的表情，這些女人大多都是歌廳或酒店的小姐，如果還有抽煙照的話就可以肯定是了。

照片中年紀(jì)不大，穿著打扮像個大洋娃娃，喜歡抱個比熊，逛街時挎?zhèn)€比自己身體還寬大的布袋子，神情天真爛漫，不經(jīng)意間露出小蠻腰上的性感紋身。背景一般為肯德基、必勝客或者是服裝店的試衣間，也或者是車內(nèi)、賓館房間內(nèi)。這類女孩大多是被成功人士包養(yǎng)的學(xué)生妹，尤其以藝術(shù)類專業(yè)居多，這種女孩兼具了非主流、學(xué)生妹以及二奶三者的特質(zhì)，但又比非主流漂亮，比學(xué)生妹開放，比二奶清純，是廣大成功人士最為青睞的上等尤物。

空間的相片從頭看到尾都是鼓著眼睛，撅著嘴巴，反正沒有一張規(guī)規(guī)矩矩的，100多張相片翻下來，都看不出她什么樣子的，那恭喜你，你遇見了傳說中的非主流。

那些把在照相館拍的古典藝術(shù)照作為封面的女人，多半是長相平平，性格傳統(tǒng)，各方面條件也都一般的剩女。

在空間里大秀自己和小寶寶幸福合影的女人一般為人本分，生活充實(shí)，心地善良，很有女人味的幸福小少婦。

相冊里頭相片沒有一張是相機(jī)拍的，全部都是在網(wǎng)吧大廳的視頻截圖，身后的座椅靠背爛了一個洞，或者背后還有幾個光著膀子在摳腳的人，這樣的人大多是城市邊緣的外來務(wù)工者

穿著得體、氣質(zhì)優(yōu)雅，照片多為與家人或同學(xué)旅游照、聚會照、學(xué)校生活照，偶爾也來一兩張搞怪的“非主流”照的女孩通常是家境寬裕、成績優(yōu)秀、身心健康的陽光女孩

把LV、Gucci、CD、蘭蔻什么的碼得整整齊齊逐一拍照并且專門建立一個相冊大肆炫耀的女人一般都是沒讀什么書的暴發(fā)戶的女兒，也有可能是剛剛被包不久二奶。因?yàn)樵谒齻冄劾?，沒有什么比這些東西更能證明她們是價值

照片中穿著波西米亞風(fēng)格的長裙在尼泊爾的神廟前的一個耐人尋味背影、身披華美的披肩在麗江某個咖啡屋的木質(zhì)露臺上看雜志，或者穿著性感比基尼在馬爾代夫的沙灘逐浪嬉戲的女人一定是非同一般名門閨秀或者有著“海龜”背景的都市“白骨精”，她們氣質(zhì)高雅，表情從容，具有很高的文化涵養(yǎng)和藝術(shù)品位。她們的相片一定是單反拍的，她們當(dāng)然不乏LV和GUCII，但一般不拿來拍照。

35歲以上還在空間里大秀自己性感照片的女人一定是婚姻不盡人意，生活空虛，內(nèi)心寂寞，性情放蕩，已經(jīng)出軌或者想要出軌的女人

在空間里大秀自己浴室性感照甚至是 是半裸自拍的女人至少和三個以上的男人有過性關(guān)系。

第二篇：希臘神話中對潘多拉的評價 女人的典型性格等

Pandora as being formed after Prometheus twice transgresses against Zeus;first through deceitful sacrifice and secondly through the theft of fire.As a consequence of these actions, Zeus decrees that he “shall give them [men] an affliction in which they will all delight as they embrace their own misfortune.” the latter naming her Pandora, “All gift, because all the dwellers on Olympus made her their gift – a calamity for men who live by bread.”(Hesiod.Works and Days.West trans.81-3)Importantly, Hermes places in her heart “l(fā)ies and wily pretences and a knavish nature.”(Hesiod.Works and Days.West trans.68).The introduction of Pandora into the mortal realm may be viewed as a continuation of the civilising of mankind.Through the duplicitous actions of Prometheus, a precedent has been set regarding sacrificial ritual, and the use of fire further elevates humans above the other beasts inhabiting the earth.Pandora’s presence will continue this trend through the institution of the marriage rite;or as Vernant writes, “the female creature fashioned by the gods for the human beings is described as a parthenos [virgin] adorned to celebrate her marriage.”(Vernant190-1).Thus from the first, she appears as daughter, virgin and bride;this intimates not only her future role in procreation, but also the need for women to enter unions both sanctioned and legitimised by men – be they mortal or otherwise.This theme will also recur in the discussion of Persephone and Helen.Although Pandora may not be the actual ‘daughter’ of any one god, she – the “molded woman” – has been touched, in her creation, by many.As with the deceitful sacrifice of Prometheus, she appears as a gift to “set against the fire,”(Hesiod.Works and Days.West trans.57).though her function will prove to be very different.Although Pandora may not be the actual ‘daughter’ of any one god, she – the “molded woman” – has been touched, in her creation, by many.As with the deceitful sacrifice of Prometheus, she appears as a gift to “set against the fire,”(Hesiod.Works and Days.West trans.57).though her function will prove to be very different.She is given as wife to Epimetheus(Afterthought), who has been expressly warned by his brother Prometheus(Forethought)not to accept any gifts from the Olympians “for fear it might prove to be an evil for mankind.”(Hesiod.Works and Days.Lattimore trans.88)In Works and Days, Pandora unstops a jar that she herself has received from the gods, and this action releases “grim cares”(Hesiod.Works and Days.West trans.39.Cf.Lattimore trans.: “sad troubles.”)and henceforth “countless troubles roam among men.”(Hesiod.Works and Days.West trans.100.Cf.Lattimore trans.: “other troubles by thousands that hover about men.”).If formerly the “tribes of men on earth lived remote from ills, without harsh toil and the grievous sicknesses that are deadly to men,”(Hesiod.Works and Days.West trans.90-93)the double hybris of Prometheus concludes such an era.Hesiod describes it thus:.when he [Zeus] had made the lovely evil to pay for good, he led her where the other gods and men were;.awe filled immortal gods and mortal men when they saw the sheer trick, irresistible to men.For from her is the race of female women, [from her is the deadly race and tribes of women] a great plague to mortals, dwelling with men.(Hesiod.Theogony.Caldwell trans.585-93)

But Pandora functions as more than this.Although she may be directly responsible for releasing misery upon her people, we must recall that she has been designed expressly for this purpose.Moreover, her creation is the direct result of the interaction between Zeus and Prometheus;arguably representative of the intelligence exhibited by gods and mortals respectively.I have already referred to the institution by Prometheus of the sacrifice ritual and his theft of fire, and how this uniquely positions humans vis-à-vis the gods.In her analysis of the myth, Blundell argues that through incorporating into Pandora “elements of all three levels of being [bestial, human and divine], she helps to determine the intermediate status of the human race, poised between the gods and the beasts”(Blundell, 23).But in highlighting this division through both her presence and her actions, Pandora likewise operates to further emphasise the separation between realms.The arrival of Pandora heralds another fundamental change for humankind.For though she(and thus all women)may operate as a “bane for mortal men...conspirators in causing difficulty,”(Hesiod.Theogony.West trans.600-1)the rejection of womankind leads to a different class of misfortune.To exist entirely without women will leave a man with no one to care for him in his old age, and, on dying, “distant relatives share out his living”(Hesiod.Theogony.West trans.606-7).By implication, the closest a man may come to immortality is through the propagation of his line.In avoiding women, he is doomed to the shortest kind of reknown and remembrance.Pandora is indeed both a pawn and the final gift in this reciprocal trickery.As Zeitlin argues, Pandora is – in all versions – “the outcome of a game of wits between Prometheus and Zeus that revolves around a series of deceptions and counter-deceptions in connection with the exchange of gifts”(Zeitlin, 58-74.59).She is formed in order to serve as bride, and as explicitly stated in both the Theogony and Works and Days, also as wife and mother.Regardless of whether a man embraces or rejects this bequest of Zeus, it is impossible for there to be no repercussion.Thus in the creation of Pandora, and womankind with her, a new age commences.As will be discussed below, this will ultimately bring with it the cessation of intercourse between gods and mortals.The three mythological figures of Pandora, Persephone and Helen present us with important perspectives on the role that women play – if not in Ancient Greek society itself – then in the archaic literature we have inherited from that society.Indeed, the function of each woman becomes apparent only through her interaction with, firstly, those from whom she originates and her separation from them, and secondly, her selected husband and her integration into his community.Thus the daughters of gods – as opposed to sons, such as Herakles and Akhilleus, who often embody a form of hyper-masculinity – may appear as reference points for the place which mortal women ought to occupy.Each of these examples raises a multitude of questions, but this exemplifies the problems inherent in attempting to categorise women in Greek myth, who have a tendency to appear as elusive as the three discussed above.One way we may approach them is as ciphers through which to view ancient Greek women as they were perceived and as they may have perceived themselves.We must remember that in such a dynamic mythology it is impossible that women were not affected by the telling of such stories and vice versa – for these myths existed likewise through the impact real women had on their telling.But she's not the first mortal woman and I don't want to delve into the Greek creation myths right now to find out who that particular woman was.I don't think a specific name was mentioned.In any case, the race of man was created by the Titan Prometheus out of lumps of clay.In order to better their chances of survival, he stole fire from the gods.This story is timeless, it's a rebellion against some feudal lord all over again.Of course, being the overlord furious at the thought that something that only his people had the right to have was being used to warm the hearths of little clay people, Zeus bound Prometheus to a mountain and had vultures eat his liver out for eternity.Boy, their punishments were incredibly creative those days.Zeus wasn't satisfied but because he didn't want to seem petty, and probably because picking a fight with the little clay people(that's us)was undignified and so very not godly, he had to have a more subtle revenge.He had his minions craft a woman.The first woman to be created by the gods and given a name in Greek mythology: Pandora.They gifted her with all sorts of beauty and cunningand sent her to wed Epimetheus, the bibbling dolt who was Prometheus' brother.Her mission: to bring suffering to the whole of mankind.Mata Hari had nothing on her.The gods gave her that now famous box as well.Of course they told her not to open it, THEN gave her an super duper extra dose of curiosity.She was dooomed to success.Anyway, she probably only opened the box because her gay lunkhead of a husband didn't have enough blood in him to excite a flea.It's another Adam and Eve story, probably the basis for that as well.Semonides concludes: “Zeus designed woman as the greatest of all evils.She is a source of evil, especially to her husband, even if she seems to be a help in some ways.No one manages to spend a whole day in contentment if he has a wife...Yes, this is the greatest plague Zeus has made, and he has bound us to them with a fetter than cannot be broken.Because of

this, some have gone to Hades fighting for a woman.”Semonides is here probably thinking of the adulterous Helen of Troy.Can literary fragments be relied on to portray dominant cultural values? If so, the characteristic ancient Greek outlook on women can be found in two quips by comic playwrights.Eubulus, a fourth century Athenian, judging evil women to outnumber good ones overwhelmingly, alludes to Pandora.“The second man to marry should be punished, but not the first [Epimetheus], who had no experience of how awful a wife can be.”Eva Keuls, in her study of sexual politics in ancient Athens, entitled The Reign of the 18

Phallus, selects this line from the fifth century Pherecrates to illustrate the deep-seated misogyny: “He who bemoans the death of his wife is a fool who doesn't appreciate his good fortune.”19

III Hellenization's impact on Western Asia came after the conquests of Alexander the Great in the fourth century.The Greek theme of women being universally and inherently alluring, but disastrous, infiltrated Jewish thought when Palestine came under Hellenistic influence.In the Hebrew Bible, the best example of what the French would call la femme fatale is found in Ecclesiastes 7:26.In that verse, a philosopher sounds a warning about the wiles of women: “I found something more bitter than death--woman.The love she offers you will catch you like a trap or like a net;and her arms around you will hold you like a chain.A man who pleases God will get away, but she will catch the sinner.” In the Israelite society prior to the Hellenistic era, there were proverbs and stories about prostitutes and nagging wives who could precipitate a calamity, but such women were usually denounced in order to heighten the contrast with virtuous women.The Testament of Reuben, written in the second century before the Christian era, continues the female ensnarement motif: “Do not devote

On Women, frag.7.Pandora's Daughters(Baltimore: Johns Hopkins, 1987), pp.69, 17

177.18 Fr.116, 117;cf.Mary Lefkowitz and Mauren Fant, Women's Life in Greece and Rome(Baltimore: Johns Hopkins, 1982), p.18.19 Fr.248a;Eva Keuls, The Reign of the Phallus(New York: Harper & Row, 1985), p.130.40-Eve and Pandora Contrasted your attention to the beauty of women...For women are evil, my children,...they scheme treacherously how they might entice man to themselves by means of their looks...By a look they implant their poison, and finally they take them captive”(4:1;5:1, 3).woman is singled out as “the beginning of evil.” Eve and her daughters are described in this disparaging way: “The woman, being imperfect and depraved by nature, made the beginning of sinning and prevaricating;but the man, being the more excellent and perfect creature, was the first to set the example of blushing and of being ashamed, and indeed of every good feeling and action.”20

The “beautiful evil”(kalon kakon)was named Pandora because a variety of Olympian gods and goddesses had given her traits.This “booby trap” equipped with “l(fā)ying and tricky talk” was delivered to Epimetheus(“afterthinker”), the uncautious brother of Prometheus(“forethinker”).Before Epimetheus accepted the gift, men lived like gods in a paradisiacal Golden Age “free from evils, harsh labor, and consuming diseases.” But when Pandora maliciously opened the lid of a huge jar, all kinds of miseries flew out and infected mortals throughout the earth.Hesiod ends his story: “This was the origin of damnable womankind, a plague with which men must live.” Further on in Works and Days, the poet warns of sweet-talking and hip-wiggling women who steal from those that find them fascinating.Hesiod's final judgment: “Any man who trusts a woman, trusts a deceiver”(373-375).He believed that the multitude of Pandora's daughters inherit their mother's loveliness and cunning.Their charm and breeding potentially compel men to associate with them, but their bad character makes domestic life miserable.woman is singled out as “the beginning of evil.” Eve and her daughters are described in this disparaging way: “The woman, being imperfect and depraved by nature, made the beginning of sinning and prevaricating;but the man, being the more excellent and perfect creature, was the first to set the example of blushing and of being ashamed, and indeed of every good feeling and action.” “Eve in Scripture opened the forbidden fruit by her bite, by which death invaded the world.So did Pandora open the box in defiance of a divine injunction, whereby all the evils and infinite calamities broke loose and overwhelmed the hapless mortals with countless infirmities.”

Mary Daly, for example, contends that over the millennia Eve has been continually viewed as the universal woman and as the incarnation of evil.She entitles a chapter in one her books, “Exorcising Evil from Eve.”John Phillips has recently analyzed the Eve motif in the works of artists, theologians, and psychologists across the ages.He believes that the story of Eve is “at the heart of the concept of woman in Western civilization.” In his concluding summary, Phillips states: "She becomes through her weaker nature the instrument of evil.56

第三篇：從身份證中查出生日期性別等公式

=IF(TRIM(D:D)<>“",TEXT((LEN(TRIM(D:D))=15)*19&MID(TRIM(D:D),7,6+(LEN(TRIM(D:

D))=18)*2),”##-##-##“),”“)

=IF(TRIM(D:D)<>”“,TEXT((LEN(TRIM(D:D))=15)*19&MID(TRIM(D:D),7,6+(LEN(TRIM(D:

D))=18)*2),”##-##-##“),”“)

=IF(TRIM(D:D)<>”“,TEXT((LEN(TRIM(D:D))=15)*19&MID(TRIM(D:D),7,6+(LEN(TRIM(D:

D))=18)*2),”##-##-##“),”“)出生日期

性別=IF(TRIM(D:D)<>”“,IF(MOD(MID(TRIM(D:D),15,3),2),”男“,”女“),”")

開機(jī)啟動的快捷圖標(biāo)閃爍：

1、把防護(hù)性軟件（如360、QQ管家）關(guān)閉掉

2、如果老師不使用暢言、需要打開防護(hù)性軟件可：a、將暢言的開機(jī)啟動禁用(360-優(yōu)化加速-啟動項(xiàng)或者開始-運(yùn)行-msconfig-確定-選擇啟動）b、在路徑例如C:Program FilesiFlytek BBT20shell下，重命名文件iFLY_BBTShellAgent.exe如iFLY_BBTShellAgent00.exe，重啟電腦

刪除電子課本（預(yù)置資源）：在安裝路徑，例如C:Program FilesiFlytek BBT20resourcesebook（或者local）中找到信息，選擇刪除

第四篇：從辦公桌：一眼看穿你的工作性格!

1極簡主義者

辦公桌特點(diǎn):幾乎是空的，只有電腦、鍵盤和鼠標(biāo)，沒有裝飾、筆、雜物，完全沒有生活氣息。

工作風(fēng)格：他推崇「簡單至上」的工作方式，總是以最小的工作量完成任務(wù)。他經(jīng)常有意無意地忽略郵件，總是最后一分鐘交工作報告，喜歡在開會時保持沉默。午飯常常吃很久，吃完不會馬上清洗餐具。要小心他：在上班時，一邊找其他工作。2囤積控

辦公桌特點(diǎn):推著山一樣高的文件，每個抽屜都塞得滿滿的。各種收據(jù)、飲料瓶和陳年會議筆記，都擺在桌子上。

工作風(fēng)格：每件事都想管，經(jīng)常主動提出想法，主動報名參加各個行動小組，搶當(dāng)組長。他寫的郵件常常和小說一樣長。要小心他：他的桌子可能成為火災(zāi)隱患。

3不記錄會死星人人才建設(shè)是門店組織發(fā)展的重要環(huán)節(jié)，有人說現(xiàn)代企業(yè)間的競爭就是人才的競爭，可見人才培養(yǎng)的重要性。但現(xiàn)實(shí)中很多店長認(rèn)為人才培養(yǎng)工作只是人力資源部門的分內(nèi)之事，與自己“八竿子打不著”，這是及其錯誤的——在人才的發(fā)掘、培養(yǎng)及應(yīng)用上，各個閘口店長的責(zé)任其實(shí)更重，作用更直接。但由于思想上認(rèn)識不夠，很多店長在實(shí)際工作中經(jīng)常犯兩個錯誤：放任和拋棄。

一、不放任：放任是最大的不信任，人一旦“放任”，就會“自流”。一些店長表面上說對店員信任，把工作交給下面之后就置之不理，任其放手發(fā)揮。到最后自己的“充分信任”卻換來店員的抱怨和不信任，甚至導(dǎo)致工作腰折流產(chǎn)。其實(shí)，放任是最大的不信任，沒有檢查和監(jiān)督的盲目“信任”實(shí)際上是該店長失職瀆職的遮羞布，而這正是造成人才埋沒或流失的罪魁禍?zhǔn)?。因?yàn)槿艘坏┍弧胺湃巍保蜁白粤鳌薄?/p>

特別是在遇到重大難題或者是重大任務(wù)的時候，人往往會猶豫退縮，這時候店長一定要向前推動，一定要介入得很細(xì)致，不能放任下屬。遇到問題;有時候出差在外，再累也要跟幾個負(fù)責(zé)人電話溝通，聽匯報，提建議。這么頻繁的干涉，表面上看是對自己下屬的“不信任”，其實(shí)恰好相反，我絕對相信我的團(tuán)隊(duì)能完成工作——事實(shí)上他們也經(jīng)常超額完成。我之所以這樣，一是分享他們階段性成果的喜悅，我很享受這個過程;二是及時發(fā)現(xiàn)過程中的問題或者新的創(chuàng)新點(diǎn)，馬上優(yōu)化，既節(jié)約時間，又少走彎路。

二、不拋棄：用人所長，補(bǔ)人所短，鐵打的營盤也可以有不流水的兵 優(yōu)秀的店長通常用人所長，補(bǔ)人所短。任何人都有優(yōu)點(diǎn)，也有弱點(diǎn)，如果只看到員工的弱點(diǎn)，將其拋棄，那這樣的領(lǐng)導(dǎo)是“名符其實(shí)的人才殺手”;如果 “只用長不補(bǔ)短”，這樣的領(lǐng)導(dǎo)是“慢性人才殺手”，因?yàn)楹鲆曄聦俚娜觞c(diǎn)，放任不管，這些弱點(diǎn)很可能變成“致命傷”，最終也會毀了這個人才。同時，“只用長不補(bǔ)短”會讓下級認(rèn)為自己在公司只有輸出，沒有成長，內(nèi)心失衡也會流失。

“鐵打的營盤流水的兵”，很多領(lǐng)導(dǎo)苦惱人員流失。其實(shí)，補(bǔ)短才能抓住員工的心。因?yàn)樽盍私庾约旱娜耸亲约罕旧恚约河肿畈桓颐鎸ψ约?。他知道自己哪些地方不行，但又不好意思直接說出來，此時就會迷茫、糾結(jié)，急需有人幫他，甚至逼他。員工也經(jīng)常會對自己的弱點(diǎn)感到自卑，他們也覺得有危機(jī)，但不敢公開說出來。所以，逼著他們改正壞習(xí)慣，補(bǔ)足他們的弱點(diǎn)，是每位管理者的責(zé)任。如果一個領(lǐng)導(dǎo)讓下屬覺得你不僅不拋棄他們，反而跟著你可以改正他們自己的不足，他們定會自信滿滿，迸發(fā)出難以想象的工作激情。這樣的領(lǐng)導(dǎo)才能真正帶好兵，才能真正讓團(tuán)隊(duì)有凝聚力，棒打不散。

三、要帶頭，領(lǐng)導(dǎo)示范往往事半功倍

所謂上行下效，很多時候一項(xiàng)工作能否推動要看店長的親身示范，“店長”如果只說而不干，那整個團(tuán)隊(duì)工作風(fēng)氣肯定好不到哪去。店長帶頭往往會給下屬信心，因?yàn)槟闶撬麄兊摹爸餍墓恰保@種作用是非常強(qiáng)大的。

四、要拍板，而不拍馬

當(dāng)?shù)觊L要敢于拍板，要會拍板，拍得對才能拍得硬，拍的準(zhǔn)才能拍得響。現(xiàn)在很多店長不敢拍板，怕?lián)?zé)任，溜須拍馬倒是很有一套，這堅(jiān)決不行!店長不要拍馬要拍板!

五、要欣賞，但標(biāo)準(zhǔn)不能低，要欣賞自己的下屬，他們有自己的優(yōu)點(diǎn)，但是不能以此而降低對他們的要求，嚴(yán)格高標(biāo)準(zhǔn)既是對自己工作負(fù)責(zé)，也是對下屬的成長負(fù)責(zé)。很多店長誤認(rèn)為欣賞下屬和標(biāo)準(zhǔn)嚴(yán)格是對立的，要么嚴(yán)苛要求下屬從不欣賞，要么只看到下屬的長處，認(rèn)為他一好百好，干脆放任不管，毫無高標(biāo)準(zhǔn)。

實(shí)際上，店長的標(biāo)準(zhǔn)低，反映的是店長本身水平低，造成對員工的要求不高。他們不相信自己能干高標(biāo)準(zhǔn)的活兒，更不相信下屬也能干高標(biāo)準(zhǔn)的工作。但是“人之初，性本上”，每個人都希望向上，每個人都希望使事物更美好，高標(biāo)準(zhǔn)要求每位員工，使員工養(yǎng)成高標(biāo)準(zhǔn)的習(xí)慣，其實(shí)對店長自己也是一種提升，反過來也更能贏得下屬的佩服欣賞。所以，要在欣賞他人欣賞自己的同時，嚴(yán)格要求他人和自己，只有這樣，團(tuán)隊(duì)才有持續(xù)的向上力和和諧的向心力，這樣的店長才是好店長。

辦公桌特點(diǎn)：他的辦公桌就是「生活精彩時刻」展覽館，擺滿了照片、明信片、零食、學(xué)位證和獎杯等等。

工作風(fēng)格：他是一個很好的團(tuán)隊(duì)成員，珍視每一次工作聚餐。他很樂意幫其他同事，幾乎能記住每個人的生日。他會備份每份文件。他永遠(yuǎn)有聊不完的八卦，喋喋不休的聊最近的假期旅行。要小心他：將絕密的文件裱起來放在桌上。4技術(shù)宅

辦公桌特點(diǎn)：他的辦公桌裝配了最先進(jìn)的設(shè)備，有多個液晶顯示屏和各種接頭的充電器。

工作風(fēng)格：他喜歡優(yōu)化工作流程，還經(jīng)常參加各種視頻會議。他開會時，常常冒出各種流行詞，會做非常炫的 PPT?？偸潜г罐k公室網(wǎng)速不夠快。有時會偷偷玩游戲。

要小心他：接入設(shè)備過多，引起辦公室電壓不穩(wěn)。5長期病號

辦公桌特點(diǎn)：擺著一大瓶洗手液、空氣凈化器和永遠(yuǎn)用不完的衛(wèi)生紙。椅子、鍵盤和鼠標(biāo)，全部符合人體工程學(xué)。

工作風(fēng)格：他請病假的次數(shù)比辦公室所有人加起來還多，不是過敏、食物中毒、就是流行感冒。他基本上可以應(yīng)付工作，除非生病了。他在桌子上貼便簽提醒自己洗手，還把辦公室的藥箱搬到自己的位子上，經(jīng)常和同事聊起來最近一次生病的情況。要小心他：喝止咳水上癮。6禪宗大師

辦公桌特點(diǎn)：擺著幾盆綠植，養(yǎng)著一缸金魚，墻上還貼著藝術(shù)畫。工作風(fēng)格：他永遠(yuǎn)保持樂觀，經(jīng)常給同事積極的反饋，對每個人的想法都非常支持。他不在乎最后期限，除非被公司解雇。他經(jīng)常分享勵志故事，光著腳在辦公室走，還會組織集體一起練瑜伽。要小心他：一邊接待客戶，一邊冥想。

第五篇：從細(xì)節(jié)解讀林沖性格的轉(zhuǎn)變.27

從細(xì)節(jié)解讀林沖性格的轉(zhuǎn)變湖北黃梅二中胡瑩 內(nèi)容摘要:

林沖是《水滸傳》中形象刻畫十分鮮明的人物之一，但他是如何從一個聲名赫赫的八十萬禁軍教頭轉(zhuǎn)變成一位威風(fēng)凜凜的農(nóng)民起義軍首領(lǐng)，如何由一個心存幻想、逆來順受、委曲求全的人轉(zhuǎn)變成一個與統(tǒng)治階級勢不兩立、殊死搏斗的英雄人物的呢？這在高中語文課文《林教頭風(fēng)雪山神廟》中有精彩的描述。本文通過三聲怒喝的細(xì)節(jié)研究林沖性格的轉(zhuǎn)變。

關(guān) 鍵 詞: 林沖林教頭風(fēng)雪山神廟細(xì)節(jié)描寫性格轉(zhuǎn)變細(xì)節(jié)就是細(xì)微末節(jié)，它是人物、情節(jié)、環(huán)境的最小單位。作家李準(zhǔn)曾經(jīng)說過:“沒有細(xì)節(jié)就不可能有藝術(shù)作品?！眱?yōu)秀的細(xì)節(jié)描寫，往往能達(dá)到“一目傳神，一瞬傳情”的藝術(shù)境界?！读纸填^風(fēng)雪山神廟》里有許多細(xì)節(jié)描寫的妙筆，在此我就結(jié)尾部分對林沖三聲怒喝的細(xì)節(jié)，為大家分析一下林沖性格的轉(zhuǎn)變。林沖的第一聲“大喝”是在草料場火起后，在山神廟中親聞陸謙等人的對話，了解高俅等策劃陰謀真相的時候。這時，他怒從心頭起，惡向膽邊生，“輕輕把石頭掇開，挺著花槍，左手拽開廟門，大喝一聲：“潑賊那里去！“這一喝是林沖的矛盾性格由量變到質(zhì)變的集中體現(xiàn)，這一喝是林沖大夢方覺，幻想破滅，下決心向惡勢力宣戰(zhàn)的最簡潔的宣言書。林沖原本是個謹(jǐn)小慎微之人，他“吃飯防噎，走路防跌”，如履深淵，如履薄冰，兢兢業(yè)業(yè)地效命于大宋朝廷，可高俅父子生事陷害，無端制造了“誤闖白虎堂”的冤案，把林沖刺配滄州，即便如此，他仍甘做罪囚，安心看守天王堂，希望一旦赦免，好回家和妻室團(tuán)聚。待得知李小二報信，知曉陸謙等人到滄州后，林沖買刀尋敵，但“街上尋了三五日，不見消耗，林沖也自心下慢了”，胸中燃起的一腔怒火，又強(qiáng)自壓下去了。接管草料場后，面對“朔風(fēng)吹撼，搖振得動” 的草屋，還想“待雪晴了，去城中喚個泥水匠來修理”，隨遇而安又占了上風(fēng)?？伤僚暗娘L(fēng)雪，使坐在四處漏風(fēng)的草屋中的林沖身上寒冷，于是他“踏著碎瓊亂玉，迤邐背著北風(fēng)”去買酒避寒，也因此在半路上對神靈頂禮膜拜，乞求“神明庇佑”。堂堂七尺男兒，滿腹韜略，武藝精絕的八十萬禁軍教頭，孤身一人，萬里作囚，凄惶落魄，把自己的全部希望壓在神靈的庇佑上，心中的憤懣可想而知。茫茫人世，或許只有酒店主人的一壺?zé)峋颇芙o林沖以些許安慰，可杯水車薪，難解其心頭的郁悶。直至草廳被大雪壓倒，林沖仍“恐怕火盆內(nèi)有火炭延燒起來”，燒了大軍草料場。賴以棲身的草廳倒了，林沖只好到山神廟躲避風(fēng)雪。待至草料場火起，他還準(zhǔn)備開門救火。林沖本想得過且過做他的罪囚，盼望流放期滿，總有一天會苦難到頭，與妻子團(tuán)圓。然而他的這一線希望被鐵的事實(shí)擊得粉碎，親見親聞的事實(shí)，如冷水澆頭，使林沖忍無可忍，反抗求生的本——《林教頭風(fēng)雪山神廟》結(jié)尾三聲怒喝的淺析

性占了上風(fēng)，滿腔的怒火化作一聲大喝，傾吐了長期郁結(jié)在心頭的憤懣。這一喝，抖落了林沖原有的委曲求全、逆來順受的奴性；這一喝，喝出了一個虎虎生風(fēng)的八十萬禁軍教頭的雄威。

這一喝對于高俅的奴才來說無異于晴天霹靂，你看：“三個人正待要走時，驚得呆了，正走不動”，“林沖舉手，肐察的一槍，先搠倒差撥。陸虞候叫聲?饒命！?嚇得慌了手腳，走不動。那富安走不到十來步，被林沖趕上，后心只一槍，又搠倒了?！懊I察”林沖把仇恨化作力量，貫注于槍尖，一槍搠倒差撥，再一槍又搠倒了富安，可見其行動的果決。這正表明林沖在無情的事實(shí)面前，終于無法再忍，義無反顧的走上了反抗的道路。

林沖的第二聲“大喝”文章中是這樣描述的：“陸虞侯卻才行得三四步，林沖喝聲道：‘奸賊！你待哪里去！’劈胸只一提，丟翻在雪地上，把槍搠在地里，甩腳踏住胸脯，身邊取出那口刀來，便去陸謙臉上擱著。林沖為什么要把陸謙留在最后單獨(dú)處決呢？我們可以體察林沖當(dāng)時的心理：差撥受陸謙雇傭，為錢賣身，不屑計(jì)較；富安系陸之走卒，奔走效勞，實(shí)為脅從；陸謙是高俅的搖尾系統(tǒng)，奴性入骨，陰險刻毒，自與他二人有別。林沖曾在得知陸謙趕到滄州害他時說過：“休要撞著我，只叫他骨肉為泥！”“奸賊！你待那里去！”是林沖對陸謙的義正詞嚴(yán)的申斥?！凹橘\”、“潑賊”稱呼的是那些無賴歹毒的東西，林沖以此稱呼陸謙，正表明他已充分認(rèn)清了此人的真實(shí)嘴臉?！澳愦抢锶ァ薄汴懼t傷天害理，壞事做絕，還想逃嗎？我能讓你逃走嗎？你逃走得了嗎？我林沖不是窩囊廢，任人欺凌，今日且讓你看看我林教頭的威風(fēng)。林沖對之切齒痛恨，現(xiàn)在陸謙找上門來送死，哪里會輕易放過。因而要和他單獨(dú)算帳，看看他的心到底是不是肉長的。林沖的“提、丟、搠、踏、取、擱”等一系列的連續(xù)動作，正是林沖此時心理的外在表現(xiàn)。他的憤怒、果決和嫉惡如仇，全部貫注于這些剛性的動作之中了。簡潔、傳神的動作描寫，細(xì)致入微地表現(xiàn)了林沖特定環(huán)境中的特定心理。如果作者沒有準(zhǔn)確把握筆下人物的思想性格的發(fā)展變化的規(guī)律，是很難做到這一點(diǎn)的。

林沖的第三聲“大喝”是喝道：“潑賊！我自來又和你無甚冤仇，你為何這等害我！正是‘殺人可恕，情理難容！’”林沖本是安分守紀(jì)、忠厚善良之人，在他看來，我不負(fù)人，人必不負(fù)我；我不犯人，人必不犯我；無冤無仇，絕不會

昧著良心去害人，而陸虞侯卻“這等害我，正是殺人可恕，情理難容！”林沖話中的“這等害我”的“這等”，浸漬了他多少酸楚和怨憤?。∽约阂簧鸀槿颂幨赖牡赖聹?zhǔn)則受到了否定和奚落，這是他自己不愿承認(rèn)的事實(shí)。自己一向安分隨和、與人為善，卻落得如此下場。陸謙和自己自幼相交，本應(yīng)互相提攜，可這個“潑賤”卻靠著主子，恣行無忌，賣友求榮，落井下石，設(shè)計(jì)誘騙林沖的妻子，騙林沖誤入白虎堂，買通解差董超、薛霸途中滅口，直至趕到滄州陷害，燒了草料場不說，還要“拾得一兩根骨頭回京”，稟告高俅父子，獻(xiàn)媚討好。陸謙的所作所為，雖系“太尉差遣”，卻也是心甘情愿，賣身投靠。這等喪失人性的惡行天理難容，因而林沖不容陸謙分辨，“把陸謙上身衣服扯開，把尖刀向心窩里只一剜······”，結(jié)果了陸謙的性命。林沖接連手刃三人，報仇雪恨，掃卻逆來順受、委曲求全、忍氣吞聲、屈居人下的奴氣，“入廟來??穿了白布衫，系了搭膊，把氈笠子戴上，待葫蘆里冷酒吃盡了，被與葫蘆都丟了不要，提了槍，便出廟門投東去”。從此，開始了他替天行道的英雄生涯。

林沖的“兩槍一刀”雖只戳在了差撥、富安、陸謙身上，但卻是他向高俅以至大宋朝廷的宣戰(zhàn)：昔日忍氣吞聲、忍辱偷安的林沖已經(jīng)一去不復(fù)返了，從此，要?dú)⒈M天下不平。作者之所以著意安排林沖與陸謙在此遭遇。讓他們作充分的表演，正是為了展示善與惡、美與丑、正義與奸邪、人性與獸性的生死較量，從而肯定真、善、美，鞭撻假、丑、惡，弘揚(yáng)正義和人性的光輝。作者筆下的林沖的這三聲“大喝”，正是對這一勝利的最簡潔、最傳神、最生動的歌頌和歡呼。綜上所述，林沖鐵骨錚錚的三聲怒喝，是他安于現(xiàn)狀、委曲求全和不滿現(xiàn)實(shí)、扶持正義的性格矛盾斗爭的結(jié)果，是林沖忍氣吞聲竭力保全自己和高俅等人步步緊逼必欲置之死地的生死搏斗的結(jié)果?！读纸填^風(fēng)雪山神廟》結(jié)尾部分林沖的三聲怒喝細(xì)節(jié)傳神地揭示了林沖當(dāng)時的復(fù)雜心理，完成了林沖性格的“漸變”，展現(xiàn)了林沖的英雄本色。

胡瑩，教師，現(xiàn)居湖北黃梅