查询词典 aesthetic

It introduces the design course,analyzes the aesthetic value research of the bionic building,analyzes the meaning of researching the aesthetic value of the bionic building,and discusses its aesthetic value from the aspects of figurativeness,infectivity,utility,creativity,which will exploit the architectural design ideas and accelerate the research and development of the bionic building.

对仿生设计学进行了介绍，分析了对仿生建筑美学价值研究的意义，从形象性、感染性、功利性和创造性等方面对仿生建筑的美学价值进行了探讨，以开拓建筑设计思路，促进仿生建筑的研究和发展。

Of course,the prototypical concepts are not inborn,and don't we have experienced aesthetic feeling because some kind of things have stimulated our a certain inherent brain area of aesthetic feeling, but just because the acquired prototypical concept of aesthetic feeling had been close linked with visual object.

当然，心理概念都不是天生的，不是因为某类事物刺激了我们的某个固有的美感脑区我们才会体验到并认同其为美感，而只是在后天形成的心理概念中"美感"与视觉形象产生了紧密的联系。

The article is based on the consumptive culture and aesthetic theory. It studies the literature and art since the 1990s and analyses the literary aesthetic characteristics in the domain of consumptive culture.The aesthetic rationality of daily taste mode, lure randan style and style in patch-up...

论文以消费主义文化及其美学特征为学理依托，以中国90年代以来的文学艺术为研究对象，分析在消费主义文化语境中的文艺审美特征——日常审美方式，欲望狂欢风格，时尚拼贴文本的"美学合理性"，及其人性诉求的弱化，文明价值底线的失守，艺术审美自律的缺失的"功能悖论"。

First of all,by the conclusive recountal of psychological, aesthetical,artistic,and educational research,the author finds out the main issue and presumption which are needed to be studied, including infant features of aesthetic preference to art works of different styles, colour,subject,matters and ways of expression,and the relationship between infant aesthetic preference and aesthetic features,age,sex,nationality,temper,etc..

其次，运用心理实验法，以呼和浩特4-6 岁蒙汉族幼儿作为研究对象，有效被试为133 名幼儿，对幼儿美术风格、色彩、题材、表现形式等审美偏爱心理特点进行了初步探索；采用修订后的NYLS 3-7 岁幼儿气质家长问卷，调查所有被试的气质特点，并对测验所得数据进行统计处理与分析。

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。

When a work of art can"t be understood through aesthetic appreciation, but through rational judgment of identity cognizance, Kant"s theory of aesthetic judgment must be called into question. Then it is judgment, not aesthetic appreciation, that becomes the post-modern virtuality.

当对艺术品的鉴赏不是通过审美而是通过作出一种身份认定的智性判断时，康德的审美判断理论必定会受到质疑，是判断而不是审美成了后现代的审美实质。

From 1976 to 1985,he stuck to Dialectical Materialism as a guideline,reflected on the literary and artistic characteristics of the "Art in its special way grasp the world "," Art has its own independent special targets " and other important proposition to do an in-depth exposition. He also made a brilliant insights about artistic typicalness; From 1985 to 1992, he gradually realized Epistemological Literary Theory couldn't explain all the literary phenomenon, so instead of Human Ontology of Literary Theory,on departure from the Human Ontology to interpret the literary phenomenon,str...essing that " Aesthetic is the life of one of the leading activities "," Art is essentially aesthetic ";Before and after 1992, he re-converted research perspective, explaining aesthetic and artistic on the basis of theValue of Philosophy, saying that the beauty is a form of value.

他从1976年到1985年，以辩证唯物主义认识论为指针，反思文学艺术的特性，对"艺术以其特殊的方式掌握世界"、"艺术有自己独立的特殊对象"等重要命题做了深入的阐发，并就艺术典型提出了精辟的见解；从1985年到1992年，他逐渐意识到认识论文艺学无法解释一切文艺现象，于是转而研究人类本体论文艺学，从人类本体论哲学出发去解释文艺现象，强调"审美是人的生命活动主要方式之一"，"艺术在本质上是审美的"；1992年前后，他再度转换研究视角，从价值论哲学出发去解释审美和艺术，认为美就是一种价值形态。

Su Yu"s work exhibits a thematic shift from aesthetic judgment to the judgment of unaesthetic, with a constant focus, whether "judgment of the un-aesthetic "," exposure " or " rebellion " as depicted in her work, are all. the author"s pursuit of aesthetic beauty, which implies deep down beneath the surface of the work, with awareness of the absurdity of the reality and the spiritual agonies, the reconstruction of human spiritual realm and re-attainment, through "imagination", of the return to pure human nature survival ideal.

斯妤的创作经历了由审美向审丑的转变，其目的是一致的，小说中具体表现为无论"审丑"、"揭露"，还是"反抗"，都仍是作家对美的追寻方式，在使人们意识到现实荒诞、精神苦痛之后，于作品深处暗示着美丽精神家园的重建，通过"幻想"达到回归人性纯真的生存理想。

By means of analyzing media's two special aesthetic creations, media's aesthetic creation is in correspondence with aesthetic spirits---to pursue unusualness, independence, harmony and perfection, but it is of unavoidable fraudulence in the creative nature.

通过对传媒两种特殊的审美创造物来分析，可以看到传媒的审美创造，在表面上是符合审美精神的，追求超脱、独立、和谐、完美，但就其创作本质来说却具有无法掩饰的欺骗性，因而在美学角而言，这是在技术辅助下而完成的审美伪装，但其本质依然带有无法回避的欺骗性。

The swift and violent development of the modern science and technology makes western societies generally enter consumption society, The consumption society supports the goods going to aesthetic and aesthetic going to goods at the same time,all of this has created unprecedented democratic era of arts and aesthetics, on the other hand even enable the most important aesthetic target --Art ,suffering all kinds of economical bulling and losing elite characters and self-disciplining,especially because consumerism stresses the artistic works whether having symbol value ,whether using marketing technology,and whether concerning to economy reciprocate.The pop art have became the mainstream of the art form of our time.

现代科学技术的迅猛发展使西方社会普遍进入消费社会，消费社会同时支持商品的审美化与审美的商品化，这一方面创造了前所未有的艺术、审美之民主时代，另一方面也使最重要的审美对象——艺术，受尽经济霸权主义的欺凌而丧失了精英性与自律性，特别是消费主义讲究艺术商品对符号价值的追求、对营销技术的使用、对经济回报的关注，使得流行艺术成为时代艺术形式之主流，从前那个只关心艺术作品之艺术性的美学传统已经被既关注艺术性又关注消费性的&新美学原则&代替。

Neither the killing of Mr Zarqawi nor any breakthrough on the political front will stop the insurgency and the fratricidal murders in their tracks.

在对危险的南部地区访问时，他斥责什叶派民兵领导人对中央集权的挑衅行为。

In fact,I've got him on the satellite mobile right now.

实际上 我们已接通卫星可视电话了