- 更多网络例句与表象主义相关的网络例句 [注：此内容来源于网络，仅供参考]
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In philosophy of science, both absolutism and relativism are theory-dominated philosophy of science which belongs to metaphysics.
就科学哲学而言，相对主义与绝对主义科学观都属于形而上学视野下的表象科学观。
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Phenomenalism, the theory that all that exists are the representations of external objects in our minds and not the objects themselves, was adopted by Bertrand Russell and many of the logical positivists during the early 20th century.
现象主义，这个理论说所有存在着的是外部对象在我们心灵中的表象，而不是那些对象自身。这个理论被罗素和20世纪的许多逻辑实证主义者所采纳。
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In fact, scientific realism and social constructivism owned some common metaphysical grounds: they all derived from the seeking for the validity of knowledge and recognized the metaphysics of mind freedom; they all have some liability of presumption and fundamentalism; and they all go along from representationalism to practice, etc.
实际上，科学实在论与社会建构论具有一些共同的形而上学根基：他们都源于对知识的有效性的追求，都认可意志自由的形而上学；都有某种预设主义和本质主义的倾向；都从表象走向了实践，等等。
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It is firstly pointed out why traditional epistemology cannot accept the concept of power, so we must shift the view of knowledge and turn from representationism to know-how. Thus, essential correlations between knowledge and power will be set up. In the last part, several difficulties caused by the shift, such as the problems of rationality and relativism, are presented.
文章首先考察了传统的知识论为什么无法容纳权力概念，接着指出从表象主义的知识观向能知的知识观的转变的必要性以及此种知识概念与权力的内在相关性，文章最后讨论了这种转变带来的合理性和相对主义等问题。
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Agential realism refuses the questionable representationism,takes scientific practices as the centre of scientific philosophy,and therefore tries to unify nature/society and subject/object.
作用实在论超越了以往的表象主义，以科学实践为中心，弥合了自然与社会以及主体与客体的鸿沟。
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The concept "impression" in early stoicism contains the element of reason.
早期斯多亚主义的表象概念中蕴涵着理性的因子。
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With the objective camera, the 6th generation film-makers expressed the unexpressive things through the ideas themselves, which showed a kind of post-modern spirit: an ideal time had passed and the new generation advocated the difference, freedom, multi-polarization and tolerance as this wasa world of the commoners in which people had no dreams but the innumerous spiritual debris drifting in the river of time.
第六代电影人的用客观的电影镜头，以表象自身的形式使不可表现之物表现出来，显示出一种后现代主义精神：一个理想主义的时代已经过去，新的一代推崇的是差异、自由、多元、宽容的生命态度，这是一个凡人的世界，凡人的生活没有梦想，只有漂流于时间之河的无数精神碎片。
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By analyzing the form of its spatial composition, this thesis tries to find out the continuous relation between Deconstructive Architecture and tradition architecture, which is covered by involuted and multifarious presentations. The highlighted point of Deconstructive Architecture is the reconstruction of space.
本文试图通对解构主义建筑空间构成的形式美学分析，其纷乱、繁杂的形式表象背后找到其与传统建筑形式美学的承接关系；强调解构主义建筑的关键在于对空间的重构，在传统形式美学框架上发展的动态空间构成原则使空间重构成为可能。
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Their differences in form make this effect a complicated process of intersecting and dissociating, attracting and resisting.
日常叙事的风行是对曾经一统天下的宏伟叙事的偏执性反拔，是启蒙神话破裂之后的幻灭叙事，写物主义倾向和日常生活本身的封闭性与重复性使小说的主体性呈现为碎片状态；模糊审美作为叙事风格主要表现为内心光照逐渐黯淡的黑夜主题夺走了叙事者的存在基础，欲望化叙事和表象化叙事闪现着一种遗忘意志，作家相对主义式的犹豫表达模糊了必要的价值分野；小说的新闻化倾向作为一种文体现象，是对快速推进的信息时代和全球性的非虚构化潮流的文化回应，但它所标榜的真实性因为只能停留在表浅层次而显得暖昧和可疑；自我重复是反修辞和反诗学的命题，是指相同的叙事成分在同一作家的不同作品中的机械重复，自我重复有细节重复、情节与结构重复、扩写与改写等表现形式，媒体时代的强制性文化法则、作家的内在缺陷和叙事模式的局限性是其文化根源；反讽与讽刺相比，是一种相对温和却又更具普遍性的文化反抗形式，但九十年代小说的言语反讽、情境反讽和总体反讽都因为主体缺乏内在的价值支撑而陷入虚无，虚伪的反抗成为一种遮蔽现实的屏障；九十年代小说的叙事视角从传统的全知视角转向限知视角，具体表现为旁观视角和窥视视角，这种强调局部性和差异性的视角本来可以成为扩展个人话语空间的正当途径，但由于它们被过分地利用于渲染感官刺激和心理刺激，与大众趣味不谋而合。
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Itpossesses the following three characteristics:Thoroughness,based on pure"Ontology",which is characterized by non-objective thought and non-anthropological horizon,it bothexternally and internally transcends modernity;Constructiveness,the task of transcendingmodernity is not to advocate destructive post-modernity,which is in the condition of puretexts,like vacuum,but to re-construct lively"pre-modernity";Actuality,the practicality of thechannels of saving modernity——"thinking"and"poetizing"——determines the actuality ofhis critique.
此种批判具有三个特点：一、彻底性，即非表象性的思维与超人类中心主义的视域所构建的纯&存在&论外在而又内在地彻底超越了现代性；二、建设性，即超越现代性的后果不是倡导纯然破坏性、文本化的后现代性，而是在回归中重建积极的、活生生的&前现代性&；三、现实性，即拯救现代性、回归&前现代性&的途径——&诗意之思&、&思性的诗&——是实实在在地为人所秉有、运作与实现，这决定了他的批判蕴涵有深厚的现实意义。
- 更多网络解释与表象主义相关的网络解释 [注：此内容来源于网络，仅供参考]
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ataraxia：心气平和
对他们来说,怀疑主义是一种能力,一种精神态度,这种心灵状态最终导致心气平和(ataraxia),平静(quietude),或者不动心(unperturbedness),这样怀疑论者就不再关心和担心表象之外的事物.
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presentationism：表象主义
presentation mode 发表方式 | presentationism 表象主义 | presentative faculty 直觉能力
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quietude：平静
对他们来说,怀疑主义是一种能力,一种精神态度,这种心灵状态最终导致心气平和(ataraxia),平静(quietude),或者不动心(unperturbedness),这样怀疑论者就不再关心和担心表象之外的事物.
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NEW ROMANTICISM：新浪漫主义
tzshe)也早借了苏鲁支(Zar Qthus Tra )的嘴,说其后,茅盾也认为:我国传统文学主要是"抒情叙意"的属于古典主义旧浪漫主义的范畴;虽然"西洋的小说已经由浪漫主义(Romanticism)进而为写实主义(Realism)、表象主义(Symbolism)、新浪漫主义(New Romanticism),我国还是停留在写实以前,
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presentative faculty：直觉能力
presentationism 表象主义 | presentative faculty 直觉能力 | presentative judgment 直觉判断
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Wassily Kandinsky：康定斯基
其中不少是插图. "(<<插图的文化史>>,新星出版社,2005年5月第一版,1181页)著名野兽派大师马蒂斯也热衷于图书插图,曾为马拉梅的<<诗集>>、<<爵士>>做过插图. 表象主义大师华西里.康定斯基(Wassily Kandinsky)也热爱插图,<<音色>>一书插图精美.