?pederasty

pederasty發(fā)音

['pedəræsti]

英：　　美：

pederasty中文意思翻譯

n. (男子與男童間的)雞奸, 男色關(guān)系

pederasty詞形變化

名詞: pederasty |

pederasty常見例句

1 、The Penal Code from 1976 in force, stipulates long imprisonment for adultery and pederasty.───同性戀仍然是犯罪行為，但是死刑不再適用。

2 、On Pederasty in Ancient Greece───論古希臘男人與少男之愛

3 、After the release of Jealous Again, Pederast left the group and was replaced by Dez Cadena.───老天有眼，1983年，麒麟公司宣告破產(chǎn)，這場(chǎng)官司最終不了了之。

4 、A drug dealer, a drug dealing pederast actually.And let's not forget the disease spreading whore.───"他們企圖用這些極端的角色來喚起人們哪怕一點(diǎn)點(diǎn)的反思和自省。

賈寶玉是否同性戀

《紅樓夢(mèng)》質(zhì)疑之二——而薛蟠確是貨真價(jià)實(shí)的同性戀！ 討論《紅樓夢(mèng)》的文章浩如煙海，但是有一個(gè)話題卻似乎少有涉及，這就是關(guān)于《紅樓夢(mèng)》里面的同性戀（homosexual）問題：某些研究者含糊其詞“賈寶玉也有類似的同性戀的行為”，但是到底賈寶玉是否有同性戀的性行為呢？在民眾之間，同性戀的定義非常模糊。古史記載中，有“狎昵孌童”、“男寵”、“男色”、“男風(fēng)”的說法，有“余桃、分桃”、“斷袖”、“龍陽”的典故，然而不得其詳；究竟怎樣才算同性戀、怎樣不算？細(xì)讀《紅樓夢(mèng)》，第四回《薄命女偏逢薄命郎》分明寫道：“馮淵酷愛男風(fēng)，最厭女子?！彪y得，在第九回《戀風(fēng)流情友入家塾 起嫌疑頑童鬧學(xué)堂》里面，卻真實(shí)地描寫了同性戀：“金榮只一口咬定說：‘方才明明的撞見他兩個(gè)（按：指寶玉的好友秦鐘和同學(xué)香憐）在后院子里親嘴摸屁股，一對(duì)一入肉，撅草根兒抽長短，誰長誰先干’……這里茗煙先一把揪住金榮問道：‘我們?nèi)肫ü刹蝗肫ü?，管你相干？’……”終于打鬧了一場(chǎng)。可見，**《紅樓夢(mèng)》原文描寫當(dāng)時(shí)的同性戀的性行為，就是指成年或未成年男子之間的非正常**關(guān)系（sodomy 或 Pederasty，即雞奸、肛交 ）。順便提一句：古希臘，這種**關(guān)系經(jīng)常發(fā)生在教師和他的學(xué)生之間，且跟“男孩子的愛情”，被當(dāng)時(shí)的希臘哲學(xué)家如柏拉圖所推崇。當(dāng)時(shí)這種跨文化的**關(guān)系要比如今的“同志同性戀關(guān)系”（gay relationships）普及。而古今中外一般常人的心理，普遍認(rèn)為“男孩子的愛情”或同志愛，是值得贊美和推崇的；但“肛交或雞奸”則是骯臟的、丑惡的！眾所皆知“屁眼里面是大糞”呀！且近來的“愛滋病”由此滋生、傳染！所以“男孩子的愛情”理應(yīng)擺脫丑惡的“肛交或雞奸”才好！ 我國自古就有“同性戀”現(xiàn)象，但同時(shí)有沒有必須伴隨“肛交或雞奸”呢？記載和敘述都很含糊。隋唐五代，男色之風(fēng)漸衰，直到宋朝又興盛起來，那時(shí)男妓公然聚集于風(fēng)月作坊，招攬生意。元代男色之風(fēng)又衰退，明清時(shí)期復(fù)盛；尤其清代，盛行“私寓”制度，官吏富商蓄養(yǎng)“相公”成風(fēng)（大戶人家買來眉清目秀的小男孩供主人賞玩，稱“男風(fēng)”，小男孩被稱為“相公”或“象姑”）。且多有歌詠之詞。跟西方社會(huì)不同，我國歷來對(duì)于同性戀基本上采取一種寬容的態(tài)度。在法律上，幾乎沒有對(duì)于同性戀者判刑（強(qiáng)暴雞奸及傷人的個(gè)別案例除外）；而在文藝方面，同性戀往往成為才子騷人歌詠的風(fēng)流韻事。 薛蟠——呆大爺 **《紅樓夢(mèng)》的原文描寫中，花花公子薛蟠——“呆大爺”，是明目張膽的雞奸肛交性行為的同性戀者，如他對(duì)柳湘蓮的糾纏不休，就是“酷愛男風(fēng)”的表現(xiàn)。那么還產(chǎn)生一個(gè)問題：沒有性關(guān)系（ sodomy 或 Pederasty）也就是杜絕“肛交或雞奸”的男子之間的純潔的相戀相愛，如賈寶玉那樣，算不算“同性戀”呢？是不是心理變態(tài)呢？……看來這可以成為性學(xué)家研討的專題。讀者們的心理，認(rèn)為想來賈寶玉既然主張“意**”，那就不至于實(shí)行“肛交或雞奸”的骯臟性行為！《紅樓夢(mèng)》里面有好幾個(gè)實(shí)行“肛交或雞奸”的孌童癖者，薛蟠便是最突出的一個(gè)。薛呆子雖出身于名門大戶，因父親早逝，沒有得到嚴(yán)格教育，不好詩書，打架斗毆、尋釁鬧事、眠花宿柳，無所不為，而又胸?zé)o點(diǎn)墨，愚頑可笑。在家里時(shí)常受到母親的指責(zé)，就連妹妹寶釵也可對(duì)他進(jìn)行規(guī)勸、嘲諷；在社會(huì)上，更是常被人玩弄，找不到自我存在的價(jià)值；在跟女子交往中，除了用金錢購買感官刺激外，并不能以自己的容貌和才華進(jìn)入有戀情的過程；就說“同性戀”這種形式吧，他呆頭呆腦地想和柳湘蓮親近，卻遭受一頓毒打。這些挫折，使他把興趣轉(zhuǎn)到孌童身上，以肛交取得性滿足。第九回《戀風(fēng)流情友入家塾》描寫：“原來薛蟠自來王夫人處住后，便知有一家學(xué)，學(xué)中廣有青年子弟，不免動(dòng)了‘龍陽’之興，因此也假來上學(xué)讀書。不過是三日打魚，兩日曬網(wǎng)，白送些束禮物與賈代儒，卻不曾有一些兒進(jìn)益，只圖結(jié)交些契弟。誰想這學(xué)內(nèi)有好幾個(gè)小學(xué)生，圖了薛蟠的銀錢吃穿，被他哄上手的，也不消多記?！彼^上手，即指實(shí)行肛交。 除了薛蟠這位“呆大爺”，患戀童癖的還有一位“傻大舅”邢德全。第七十五回寫他“只知吃酒賭錢，眠花宿柳為樂，手中濫漫使錢，待人無二心，好酒者喜之，不飲者則不去親近，無論上下主仆皆出自一意，并無貴賤之分，因此都喚他傻大舅”。他雖是邢夫人的胞弟，但邢夫人很厭惡他。他在親友間無地位，又是一味的“傻”，所以亦把興趣轉(zhuǎn)移到孌童身上，以達(dá)到性滿足。且看第七十五回《開夜宴異兆發(fā)悲音》所寫，呆大爺和傻大舅與孌童的胡鬧：“此間伏侍的小廝都是十五歲以下的孩子，若成丁的男子到不了這里……其中有兩個(gè)十六七歲孌童以備奉酒的，都打扮的粉妝玉琢。今日薛蟠又輸了一張，正沒好氣，幸而擲第二張完了，算來除翻過來倒反贏了，心頭只是興頭起來?！磁d頭了，便摟著一個(gè)孌童吃酒，又命將酒去敬邢傻舅。傻舅輸家沒心緒，吃了兩碗便有些醉意，嗔著兩個(gè)孌童只趕著贏家不理輸家，因罵道：‘你們這起兔子，就是這樣專伏上水，天天在一處，誰的恩你們不沾，只不過我這會(huì)子輸了幾兩銀子，你們就三六九等了。難道從此以后再?zèng)]有求著我們的事了！’……兩個(gè)孌童都是演就的局套，忙都跪下奉酒，說：‘我們這行人，師父教的不論遠(yuǎn)近厚薄，只看一時(shí)有錢勢(shì)就親敬，便是活佛神仙，一時(shí)沒了錢勢(shì)了，也不許去理他。況且我們又年輕，又居這個(gè)行次，求舅大爺體恕些我們就過去了。’說著，便舉著酒俯膝跪下。”這場(chǎng)景表明：薛蟠和邢德全為兩個(gè)孌童而爭風(fēng)吃醋，從中得到性滿足。他們有戀童癖，“天天在一起，誰的恩你們不沾”道出此中風(fēng)情。這些孩子是受迫于威逼利誘，“只看一時(shí)有錢勢(shì)就親敬”。那么，他們和孌童之間有沒有性關(guān)系呢？**《紅樓夢(mèng)》透露：有的。在邢大舅發(fā)了一通牢騷后，一個(gè)年少的紈绔說：“我且問你兩個(gè)，舅大爺雖然輸了，輸?shù)牟贿^是銀子錢，并沒有輸丟了雞巴，怎就不理他了?”可察出邢大舅和孌童之間的性關(guān)系，就是肛交或雞奸。戀童癖作為性變態(tài)的一種，并沒有在現(xiàn)實(shí)生活中消失。而一般人普遍認(rèn)為：即使有“戀童癖”和同性戀，可以寬容，但是從衛(wèi)生的角度考慮，應(yīng)該避免“肛交或雞奸”的不潔**方式，而做到意**。也就是說：同性戀應(yīng)該純潔化！ 賈寶玉、薛蟠和馮紫英（非柳湘蓮） [注釋]中國同性戀的典故 古人把男同性戀稱為“分桃之愛”、“余桃”，其典故出自衛(wèi)靈公和他的男寵彌子瑕，在《韓非子》、劉向的《說苑》和《戰(zhàn)國策》中都有所記載，原文是： 彌子名瑕，衛(wèi)之嬖大夫也。昔者，彌子瑕有寵于衛(wèi)君。衛(wèi)國之法：“竊駕君車者罪刖?！睆涀予δ覆。碎g往夜告彌子，彌子矯駕君車以出。君聞而賢之日：“孝哉！為母之故，忘其刖罪。” 異日，與君游于果園，食桃而甘，不盡，以其半啖君。君曰：“愛我哉！忘其口味，以啖寡人。” 及彌子瑕色衰愛弛，得罪于君，君曰：“是固嘗矯駕吾車，又嘗啖我以余桃?！惫蕪涀又?，未變于初也，而以前之所以見賢而后獲罪者，愛憎之變也。 彌子瑕和衛(wèi)靈公搞同性戀，恃寵而驕，私自駕君主的車，把吃了一半的桃子給君主吃，在他得寵時(shí)還受到君主的贊揚(yáng)，到失寵時(shí)這都是罪名了。還需要一提的是，衛(wèi)靈公是個(gè)**亂的昏君，他還和一個(gè)有美色的宋公子朝搞同性戀，發(fā)生了同性性關(guān)系，而宋朝又和衛(wèi)靈公的嫡母宣姜、夫人南子發(fā)生了異性性關(guān)系，后來竟因此發(fā)生了宮廷政變。 古人又把男同性戀稱為“龍陽之好”，這個(gè)典故出自《戰(zhàn)國策·魏策》。龍陽君是魏王的男寵，魏王很愛他。有一天，兩個(gè)人在一起釣魚，龍陽君釣到十多條魚，可是不僅不高興，反而哭了。魏王很奇怪，問他為什么，他說：我釣到第一條魚的時(shí)候，滿心歡喜，但是后來釣到更大的，我就將第一條魚棄之于海了。我現(xiàn)在受寵于你，和你共枕，人們都敬畏我，但是四海之內(nèi)美貌的人那么多，別人會(huì)把比我更美的人推薦給你，那時(shí)，我就會(huì)像第一條魚那樣被棄之于海了，想到這里，我怎么能不哭呢？魏王聽了很感動(dòng)，于是頒布全國，如果有人在他面前提出另一個(gè)美貌者，則滿門抄斬。 至于“安陵之好”的典故，則出自《戰(zhàn)國策·楚策》，安陵君是楚共王的男寵，頗為得勢(shì)。有個(gè)叫江乙的人對(duì)他說，君主待你那么好，只是因?yàn)橄矏勰愕拿烂玻院罂傆猩鄢诘囊惶?，甚至連所睡的席子還沒有破的時(shí)候，已經(jīng)不再受到寵幸了，你最好和君主說，連死也跟隨他，就會(huì)長期得到他的信任和眷顧?？墒窃谌曛校擦昃龥]有對(duì)楚共王說過。有一次，當(dāng)安陵君和楚共王在云夢(mèng)打獵時(shí)，共王有感地說：“今天打獵，真使我快樂，但在我死后，誰還和我一起享受這快樂呢？”安陵君聽了以后，就流著淚下跪說：“大王萬歲千秋之后，我愿意在黃泉之下繼續(xù)侍候你?！背餐趼犃舜鬄楦袆?dòng)，就設(shè)壇封他為安陵君。 龍陽君和安陵君顯然比彌子瑕聰明得多，他們不恃寵而驕，而是“居安思?！保靡恍┣擅畹霓k法來感動(dòng)君主，以鞏固自己的地位，因?yàn)樗麄冎绬螒{美色和君主搞同性戀，是朝不保夕的。 以上這些“個(gè)案”，都出現(xiàn)在春秋、戰(zhàn)國時(shí)期，在這個(gè)時(shí)期還有一些同性戀的“個(gè)案”也頗為發(fā)人深思，例如吳下阿蒙《斷袖篇》的“申侯”一段，有這樣的記載： 申侯有寵于楚文王，文王將死，與之璧，使行曰：“唯我知汝，汝專利而不厭，予取予求，不汝瑕疵也，后之人將求多于汝，汝必不免，我死，汝必速行，無適小國，將不汝容焉?！奔仍?，出葬鄭，又有寵于厲公，及文公之世，以請(qǐng)城其賜邑，被譖見殺。

有沒有英文的關(guān)于拜倫的生平謝謝各位的回復(fù)

George Gordon Byron, 6th Baron Byron (22 January 1788 – 19 April 1824) was an English poet and a leading figure in Romanticism. Among Lord Byron's best-known works are the narrative poems Childe Harold's Pilgrimage and Don Juan. The latter remained incomplete on his death. He was regarded as one of the greatest European poets, and is still widely read.

Lord Byron's fame rests not only on his writings, but also on his life, which featured extravagant living, numerous love affairs, debts, separation, and allegations of incest and sodomy; he was famously described by Lady Caroline Lamb as "mad, bad, and dangerous to know". Byron served as a regional leader of Italy's revolutionary organization the Carbonari in its struggle against Austria, and later travelled to fight against the Turks in the Greek War of Independence, for which the Greeks consider him a national hero. He died from fever in Missolonghi.

His daughter Ada Lovelace, notable in her own right, collaborated with Charles Babbage on the analytical engine, a predecessor to modern computers.

[Early life]

Catherine Gordon, Byron's motherByron was born in London, the son of Captain John "Mad Jack" Byron and his second wife, the former Catherine Gordon, heiress of Gight in Aberdeenshire. His paternal grandfather was Vice-Admiral John "Foulweather Jack" Byron, who had circumnavigated the globe, who was the younger brother of the 5th Baron Byron, known as "the Wicked Lord". He is one of the descendents of King Edward III of England.

From Byron's birth he suffered from a malformation of the right foot (clubfoot), causing a slight lameness, which resulted in lifelong misery for him, aggravated by the suspicion that with proper care it might have been cured. He was christened George Gordon after his maternal grandfather, George Gordon of Gight, a descendant of King James I. This grandfather committed suicide in 1779. Byron's mother Catherine had to sell her land and title to pay her father's debts. John Byron may have married Catherine for her money and, after squandering it, deserted her. Byron's parents separated before his birth. Catherine moved back to Scotland shortly afterwards, where she raised her son in Aberdeen until 21 May 1798, when the death of his great-uncle made him the 6th Baron Byron, inheriting Newstead Abbey, rented to Lord Grey de Ruthyn during Byron's adolescence.

He received his formal education at Aberdeen Grammar School. In 1801 he was sent to Harrow, where he remained until 1805, when he proceeded to Trinity College, Cambridge. There he met and shortly fell deeply in love with a fifteen year old choirboy by the name of John Edleston. About his "protégé" he wrote, "He has been my almost constant associate since October, 1805, when I entered Trinity College. His voice first attracted my attention, his countenance fixed it, and his manners attached me to him for ever." Later, upon learning of his friend's death, he wrote, "I have heard of a death the other day that shocked me more than any, of one whom I loved more than any, of one whom I loved more than I ever loved a living thing, and one who, I believe, loved me to the last." In his memory Byron composed Thyrza, a series of elegies, in which he changed the pronouns from masculine to feminine so as not to offend sensibilities.

[Travels to the East]

From 1809 to 1811, Byron went on the Grand Tour then customary for a young nobleman. The Napoleonic Wars forced him to avoid most of Europe, and he instead turned to the Orient, which had fascinated him from a young age anyway. Correspondence among his circle of Cambridge friends also makes clear that a key motive was the hope of homosexual experience. He travelled from England over Spain to Albania and spent a lot of time there and in Athens. While in Athens he had a torrid love affair with Nicolò Giraud, a boy of fifteen or sixteen who taught him Italian. In gratitude for the boy's love Byron sent him to school at a monastery in Malta and bequeathed him seven thousand pounds sterling – almost double what he was later to spend refitting the Greek fleet. For most of the trip, he had a travelling companion in his friend John Cam Hobhouse. On this tour, the first two cantos of his epic poem Childe Harold's Pilgrimage were written, though some of the more risqué passages, such as those touching on pederasty, were suppressed before publication.[1]

[Beginning of poetic career]

Some early verses which he had published in 1806 were suppressed. He followed those in 1807 with Hours of Idleness, which the Edinburgh Review, a Whig periodical, savagely attacked. In reply, Byron sent forth English Bards and Scotch Reviewers (1809), which created considerable stir and shortly went through five editions. While some authors resented being satirized in its first edition, over time in subsequent editions it became a mark of prestige to be the target of Byron's pen.

After his return from his travels, the first two cantos of Childe Harold's Pilgrimage were published in 1812, and were received with acclamation. In his own words, "I awoke one morning and found myself famous." He followed up his success with the poem's last two cantos, as well as four equally celebrated Oriental Tales, The Giaour, The Bride of Abydos, The Corsair, and Lara, which established the Byronic hero. About the same time began his intimacy with his future biographer, Thomas Moore.

[Political career]

Byron eventually took his seat at the House of Lords in 1811, shortly after his return from the Levant, and made his first speech there on 27 February 1812. A strong advocate of social reform, he received particular praise as one of the few Parliamentary defenders of the Luddites. He also spoke in defence of the rights of Roman Catholics. These experiences inspired Byron to write political poems such as "Song for the Luddites" (1816) and "The Landlords' Interest" (1823). Examples of poems where he attacked his political opponents include "Wellington: The Best of the Cut-Throats" (1819) and "The Intellectual Eunuch Castlereagh" (1818).

[Poetic works]

Byron wrote prolifically.[3] In 1833 his publisher, John Murray, released the complete works in 17 octavo volumes, including a life by Thomas Moore. His magnum opus, Don Juan, a poem spanning 17 cantos, ranks as one of the most important long poems published in England since Milton's Paradise Lost. Don Juan, Byron's masterpiece, often called the epic of its time, has roots deep in literary tradition and, although regarded by early Victorians as somewhat shocking, equally involves itself with its own contemporary world at all levels – social, political, literary and ideological.

Lord Byron (1803), as painted by Marie Louise Élisabeth Vigée-Lebrun.The Byronic hero pervades much of Byron's work. Scholars have traced the literary history of the Byronic hero from Milton, and many authors and artists of the Romantic movement show Byron's influence -- during the 19th century and beyond. The Byronic hero presents an idealised but flawed character whose attributes include:

having great talent

exhibiting great passion

having a distaste for society and social institutions

expressing a lack of respect for rank and privilege

thwarted in love by social constraint or death

rebelling

suffering exile

hiding an unsavoury past

ultimately, acting in a self-destructive manner