查询词典 aesthetic perception

Zhang Yuneng these years.In the article,the historical origin,aesthetic characteristics,and so on of gas,a Chinese classical aesthetic category,are closely studied and summarized.It is pointed out that since it obtained the meaning of aesthetic main body gas has showed out a kind of aesthetic tendency canonizing solar and doughty beauty.That is to say,solar and doughty has been the aesthetic characteristic of gas from then on.And it is pro...

本文对中国古典美学范畴&气&的历史渊流、审美特质等进行了比较详细的探讨和总结，指出了自从&气&取得美学上的主体意义之始，就已经显示出一种标举阳刚之美的审美倾向，或者说，阳刚就成为&气&范畴的美学特征；从而证明了&气&范畴充满了刚美的特质，具有丰富的刚美意蕴，因此它属于刚美范畴。

Ernest August Gutt has been engaged in this domain and made great achievements.A systematic research on Gutt"s translation theory clarifies some misunderstandings concerning this theory, disclosing its true nature and exploring its explanatory power to translation practice. Furthermore this thesis probes into the application of Gutt"s theory to literary translation, pointing out that Gutt fails to realize the important role that non-formal aesthetic markers, such as tone and feeling, play in transferring aesthetic values in literary translation, though he lays much emphasis on the transference of formal aesthetic markers. Attempts have been made to amend Gutt"s theory in respect of transferring aesthetic values of literary work by means of "non-formal aesthetic markers, with the aim of making it more suitable for literary translation between Chinese and English.

本文简述了关联理论的基本内容，对恩斯特·奥古斯特·格特根据关联理论建立的关联翻译理论作了较为全面、系统的研究；梳理、分析了译界对它的研究情况和接受情况，澄清了译界对关联翻译理论的种种错误认识；探讨了该理论对翻译现象的强大解释力；最后对格特理论在汉英文学翻译实践中的局限性进行了有益探索，指出了格特理论在文学作品的美学价值的再现上存在不足：格特忽视了美的非形式特征在文学作品的美学价值的再现上所起的重要作用；并结合自己的翻泽研究和实践，从美的形式特征和非形式特征两个方面，用具体译例阐释了文学翻译如何再现原作美学价值的问题，力求使该理论更适合于汉英文学翻译。

The former would not investigate what aesthetic fashions and activities there were but analyze what Confucius and Zhuangzi once said, that is, to discover the selfconscious levels of aesthetic ideas in the time in question through the study of ancient books, in other words, to validate the logical levels of aesthetic ideals in the society in question displayed in the theories by ancient philosophers. The later would not pay much attention to the sayings and writings by them but emphatically analyze the shapes and lines of potteries and the styles of calligraphy and brush drawings and the lines and manufacture of bronze utensils, that is, to realistically reveal the types of material configurations in which the aesthetic activities in a time embodied, in other words, to demonstrate in a descriptive way the artistic effects that the aesthetic experiences in a time could make.

前者不去考察先秦时代究竟存在着哪些审美风尚和审美活动，而旨在分析孔子说过什么，庄子说过什么，即要从古代文献的字里行间中发现那个时代的审美观念究竟达到了何种自觉的程度，即要从古代哲人的理论表述中确认那个社会的审美理想究竟达到了什么样的逻辑水准；后者则不太关心思想家、哲学家的言论和著作，而着重分析陶器的形状、书画的风格、青铜器的线条与制作，即要从实证的角度发现一个时代的审美活动究竟体现为何种类型的物质形态，即要以描述的方式来证实一个社会的审美经验究竟凝结为什么样式的艺术成果。

Based on twenty yearss research, Chen Lin developed the holistic processing hypothesis of Gestalt psychology into topology property perception theory, and thought of the human perception as a processing from holistic property to local property of perceptual object. From the viewpoint of Chen, a primitive and general function of the visual system is the perception of topological properties, and perceptual organization should be understood in the perspective of transformation and perception of invariance over transformation in the topological approach.

基于二十余年的研究积累，陈霖的拓扑性质知觉理论从格式塔心理学的整体加工思想出发，试图结合拓扑学的相关研究，对人类的知觉加工给出一个"大范围到局部"的说明，认为视觉系统的基本单元和一般功能是拓扑性质的知觉，知觉组织应当从变换和变换中的不变性知觉的角度进行理解。

Through analyzing the research result of four series studies, we conclude that the description about toplogical perception that is prior to the perception of local featural properties does not fit to the visual perception, and the figure visual perception is not affected by the different geometrical levels, and the relative perceptual salience of different geometrical properities is not consistent with the hierarchy of geometries according to Kleins Erlangen Program.

四个系列研究的研究结果表明，陈霖的拓扑性质知觉理论对视觉系统具有早期抽取图形拓扑性质的描述欠妥当，图形视知觉的加工过程并不受图形几何变换功能层次的制约，不同几何性质的相对知觉显著性与克莱茵的埃尔朗根纲领所描述的几何层次不一致。

At the moment, however, I want to focus on perception and make three points. The first is a point about the intimacy of the connection between perception and action. It involves an argument designed to show that, contrary to what we might suppose, there is no logical or conceptual gap between our conscious perceptual awareness and our corresponding agential capacities. Needless to say, the argument is designed to make the agential approach to direct perception less unintuitive. The second point is made with the same aim, but proceeds from the opposite side. That is, I argue briefly for the inadequacy of the sense-datum conception of visual perception (the source of virtually everyone's "pre-theoretical" intuitions, regardless of their theoretical commitments). And I do so on phenomenological grounds.

此刻，无论如何，我需要集中在感知上，指出三点。1、关于感知和行为之间的密切关联，这包含一个被设计的论证，以指明在'我们有意识地感知'和'我们有意识地agential能力'之间不存在逻辑或概念上地gap，而无需说，这个被设计的'直接感知的agential进路'的论证更少非直观。2、同样的目的，但起点反过来，即，我简单论证了视觉感知的感觉材料概念的不充足（事实上每个人的前理论直观的源头，无论有何种理论承诺），我做这个基于现象学基础。

From human angles people can understand the human nature and analyze the various basis and characteristic of creating individualized aesthetic perception. The new-type aesthetic perception can make people appreciate beautiful things in the way of human. It helps create the ideal relationship between nature, human, self-essence and human, and improve the enrichment and perfection of human nature. Thus realize the really beautiful human nature.

接下来就分析建构&个性化&审美观的多元基础及其特征，并对全文做出总结，所建构的新型的审美观将使人真正能够按照&人&的方式去进行审美，有利于建立人与自然、人与人、人与自身本质之间的理想关系，并推动人性的丰富与完善，实现真正&美&的人性。

Accepting the aesthetic thought of Kant and Schiller, and Heidegger\'s artistic truth view, Marcuse points out in sensibility and morals, i.e. during people\'s the two poles present," the aesthetic dimension " is occupying the status of centre, as the soul ability of person practicing, imagine strength having function mediated and liberated to perception and reason; Aesthetic form, self-containment and truth are identical, art not merely has a function of ideology, have political latent energy criticized , denied even more, it strives for the individual\'s freedom and happiness; Aestheticsis the people\'s life style, therefore has proposed the theory of "not constraining life style", it make up one\'s mind bad smell look at latitude of "remember" emphatically really.

接受康德和席勒的美学思想，以及海德格尔的艺术真理观，马尔库塞指出在感性和道德性，即人的存在的两极之间，"审美之维"占据着中心地位，作为实践的人的心灵能力，想像力对感性和理性有着调和与解放的功能；审美的形式、自律和真理是一致的，艺术不仅具有意识形态的功能，更具有批判、否定的政治潜能，它争取个体的自由与幸福；美学是人的生存方式，"非压抑性生存方式"理论的确立意味着重视"回忆"的纬度。

The author makes every effort to combine abstract intellectual category and concrete artistic practice together, starts with concrete aesthetic activities, such as custom etiquette, daily life, artistic works, etc., and sketches a contour of one kind of "aesthetic culture history",which is different from aesthetic intellectual history and aesthetic implements history for readers.

作者力求将抽象的思想范畴和具体的艺术实践结合起来，从风俗礼仪、饮食起居、艺术作品等具体的审美活动入手，为人们勾勒出一种"有别于审美思想史和审美器物史的审美文化史"。

It treated to the modernity of western society with animadvert spirit of Marxism, exceeded the aesthetic modernity which is based on didacticism aesthetic and German classic aesthetic, spark plugged aesthetic education.

它以马克思主义的批判精神对待西方社会的现代性，超越西方启蒙主义美学和德国古典美学所构建的审美现代性，为人类的全面自由发展而倡导审美教育。

But this is impossible, as long as it is engaging in a market economy, there are risks in any operation.

但是，这是不可能的，只要是搞市场经济，是有风险的任何行动。

We're on the same wavelength.

我们是同道中人。