查询词典 Modernism

On the other hand, Bunya Koh's Nationalism set out from an imaginary Taiwanese style. Later, being inspired by Alexander Tcherepnin, a Russian musician, to find out the national subjectivity, he adjusted Chinese style and wrote nostalgic Taiwanese music, returning to original purity from the complicated Modernism.

而江文也「民族主义」风格转变，由「想像中」的台湾风格出发，在俄国作曲家齐尔品的音观影响下，尝试找出民族主体性而转向中国风格，晚期乡愁般的台湾情怀，作品也由最初极为繁复的「现代主义」回到单纯真实。

The review may be not profound and meticulous enough. But if it could make us find the possibility or even the necessity of investigating Stephen Chous movies and the theory of post-modernism again, then we can say that the aims of this thesis had already been achieved.

这些考察也许还不够深入和细致，但如能令我们发觉有重新审视周星驰电影，乃至后现代理论本身的可能性甚至必要性，则已经达到本文的目的了。

Feminist perspectives are often conflated with global modernism and individualist human rights.

女性主义者常直接引用全球现代主义和个人主义的人权论述。

Lin Tongji ,living in the 1930-40 ,knew the thoughts of Nietzsche having" extreme sharp of intuition", and its art having profound "symbol quality " etc., all these were explaining the relation consanguineously between Chinese modernism and enlightenment.

三四十年代的林同济认识到尼采思想具有&极端尖锐的直觉&，其艺术具有浓厚的&象征性&等等，都说明了中国现代主义文论与感性启蒙的密切关系。

Different from his post-modernism theory,some new concepts of modern science were accepted in the theory of cosmogenic architecture as sources to architectural design.

一宇源建筑的概念2002年7月22日，詹克斯在北京建威大厦作了题为&建筑新范式&的学术报告，包括七部分

When American Pop art met the Chinese modernism in that very context, a certain mystery was produced: Pop art was readily understood as a Dadaist destructive art, while its cultural deconstructive property seemed to be ignored. By the early 1990s, due to the political reason, China had undergone its rapid social and cultural transition from Enlightenment era to consumerist era, while artists, who were still in despair because of the failure of cultural Enlightenment movement, found themselves confronted with a completely new economic market and their ideas mingled with those of modernist Enlightenment and post-modern deconstruction.

它以风格上挪用、平面化、去意义、去价值这类语言策略解构和消除现代主义的启蒙神话，成为与后现代主义哲学同构的文化思潮。80年代初沃霍尔访华，尤其是1985年劳申伯在北京和拉萨举办个展开始了美国波普主义在中国的传播，而这时正值中国85现代主义运动的高潮，启蒙和反叛是这一运动的主题，正是这种语境使这种传播产生了十分吊诡的意义落差：波普主义很轻易地被理解为一种达达式的破坏性艺术，而它的文化解构主义色彩反倒不易被体会。90年代初中国社会由于政治的原因急促地完成了由启蒙文化向消费文化的转型，艺术家们还沉迷在文化启蒙运动失败的悲壮气氛中却突然发现自己已深陷在一个一完全陌生的经济世界中，理想的失落和批判身份的丧失使他们的思想开始混杂于现代主义的启蒙建设和后现代主义的解构观念之间，于是，波普主义成为这个时代的一种自然的风格选择。

Roughly entered 1990, a discourse space appears, this space could correspondingly in the post-modernism, the pluralism and decenter. Cognition the differences between cultures, the "suited" art appeared, the native thereupon bad become the most important creation goal.

约莫进入1990年后，一个能相应於后现代论述中多元、去中心、区域化的论述空间产生，对於文化差异性的认知产生了不同的「适合」的艺术，本土於是成为创作首要标的。

By means of irony and of crack joke, they achieved the theories of their own through historical segments anddaily life for casual pasting while resisting metaphysic, power language and structural bondage, they strived to form their plural and compromise thought, while claiming "the liberation of desire ","the objection to ration ","decentre", and pursuing "disarchitecture", they tried to make the visitors know that they had the understanding of higher level they disagreed with the aloofness of modernism architecture which neglected history and context and surpassed everything.

他们以反讽及戏拟的手法，在历史碎片和日常生活中获取自己的理论和实践资源，进行任意的拼帖；在反抗形而上学、权力话语和结构束缚的同时，力图形成自己多元和折衷的思想；在一味标举&解放欲望&、&反对理性&、&去除中心&、追求&非建筑&，大玩形式游戏的同时，又试图让观者明白自己有着更高层次上的理解。

Meanwhile, Hong Kong films received belatedly and discriminately influences from Western films. Hollywood commercialized films, the European films of art, Japanese films, especially the production system of Hollywood, the French cinematic conception of "new waves", the technique of Japanese swords films, and sex emancipation, post-modernism, recreationism and commercialism have had in varying degrees impact on Hong Kong films, building up their own style which welds Chinese culture and international cinematic culture.

美国好莱坞的商业电影、欧洲的艺术电影乃至日本电影，特别是好莱坞的制片厂制度、法国&新浪潮&的电影理念、日本剑戟片的拍摄技术，还有&性解放&、&后现代&、娱乐主义和商业主义等文化思潮，都不同程度地影响着香港电影的面貌和发展，逐步使香港电影形成了以祖国文化为根基、同时又具有国际化现代电影包装的个性特征。

On basis of practical environment and practice experience, the theory of Eclectics and Modernism are clarified. Then the similarity and difference are showed. Finally the author supplies some suggestion to the practical environment.

对执业环境和设计经历的分析为剖析折衷主义、现代主义建筑设计思想提供了客观依据，再以建筑实例分析两人在建筑思想上的共性与差异，并最终对建筑师的执业环境进行了思考。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。