- 更多网络例句与无审美观念的相关的网络例句 [注：此内容来源于网络，仅供参考]
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He extended the theory of Depth Psychology into the study and criticism of novels , affirmed the human significance and modern aesthetic value of psychological novel , and revealed the psychological nature of the history of Western fiction from the phenomenon of the unconsciousness . Freud s theories pounded at the novel writing principle of Western Classicism , and affected the theoretical position and the writing concept of modern Western novelists .
从20世纪初期起弗洛伊德就在小说观念领域悄然发动了一次革命，他把自己的"深层心理学"理论延伸到了小说理论研究和批评之中，明确肯定了"心理小说"的人性意义和现代审美价值，并从"无意识"表现的历史存在揭示了西方小说史的心理学本质，对西方古典主义的小说创作原则造成了极大的冲击，有力地影响了西方现代小说家的理论立场和创作观念。
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The basic connotation of the"aesthetic utilitarianism"is that aesthetics has an intrinsic function to surpass the desire of secular utilitarian purposes, and that the employment of aesthetic education makes it possible to liberate and sublimate the basic instinct and emotion of the fellow countrymen through the "detachedness"and"universality"of aesthetics, with a view to repelling the material and selfish desires and to formulate in time a complete character and a noble morality.
审美功利主义"是吸收了西方"审美无利害性观念和中国古代儒家、道家的思想，又结合当时所面临的启蒙问题而形成的。
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In one aspect, BF6 intends to create a fresher and more nutrient fastfood culture. But in the other aspect, BF6 will insist on the principle of low or no depiction of violence, and no directly or any implicatively depiction of sex, with the object that creates an all ages admmited scenario abiding all Chinese laws and without any conflict with Chinese traditional aesthetics.
一方面，脑内快餐6旨在创作更新鲜营养的快餐文化；另一方面，脑内快餐6将以创作遵守中国境内一切法律法规、不与中国传统审美观念冲突的全年龄向剧本为目的，坚持少量或无暴力描写、无性描写和无任何形式的性暗示擦边描写的原则进行创作。。
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Secondly, although the distinction between me and no-me employed Shaoyong's saying of Xianwu, it has not been well interpreted, especially when perception confusion arose in engrafting with the theory of taste.
二是有我之境与无我之境的区分虽然化用了邵雍的观物说，却没有得到较好的阐释，尤其足与叔本华审美学说嫁接时出现观念混乱。
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One thing is sure, is that they do not support or even oppose the idea of substituting art, and associated with this is that they recognize the value or the value added of the fine arts. They are not esthetes, but firmly believe that art must have an aesthetic quality--in their eyes all the so-called ideas, even the most valuable concepts of art must be achieved through the aesthetic of the intermediary, even though they may oppose the concept of contemporary art's tendency to suppress the technology, but they do not flaunt technological supremacy. They acknowledge and accept the meaning of art, but they also convey the concept of artistic value in way they try to select a relatively moderate path, neutral, and not too left or right, but also East and West, ancient and modern, not avant-garde nor stale, either extremes must be avoided. And to be able to do this, we've reached the limits of a teacher's role, going beyond these expectations is not very realistic, as the less moderate we get, the further we are from a teacher's identity.
有一点可以肯定，那就是他们不赞成甚至反对以观念代替艺术，与此相关联的是他们承认甚至看重技术对於艺术的价值，他们都不是唯美主义者，但坚信审美是艺术必须具备的品质，在他们眼里一切所谓观念，即使是最有价值的观念在艺术中都必须经由审美的中介加以实现，虽然他们反对观念至上，反对当代艺术中蔑视以至讨伐技术的倾向，但他们并不标榜技术至上；他们承认并接受观念对於艺术的意义，但他们同时看重传达观念的方式，他们试图选择的是一条相对中庸的道路，不偏不倚，不左不右，亦中亦西，有古有今，前卫亦无不可，极端则须避免，能够做到这些，已经是作为教师的角色选择的极限，超越这些范畴的期待已经不很现实了，而远离这些范畴的选择又似乎有违於教师的身份。
- 更多网络解释与无审美观念的相关的网络解释 [注：此内容来源于网络，仅供参考]
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psychical distance：心理距离
Bullough)的"心理距离"(psychical distance)和立普斯(T. Lipps)的"移情作用"(empathy)等等,构成了一个典型的现代性美学体系. 这个以"审美的无利害关系"和"为艺术而艺术"观念为核心的美学,长期被视为中国现代美学的正统,