查询词典 aesthetic

Art and life came closer each other, therefore, the aesthetic activities in 1990's appeared the trend of secularize .

90年代，生活与艺术互相靠近，走向同一，从而使90年代整体上显现出世俗化的倾向。

We do see some globalized style spread and also self-admiration ,ethnical essential and national cultural .So that how to recognize our cultural identity in this global and mutified situation ,how to create ethnic character and perform native trends of aesthetic judgement in our design works must be in deep concern rationally.

我们确实看到了一种国际化风格的世界性蔓延，同时，我们也看到了在全球化的经济和文化场景中，设计的自我、民族和国家文化形象也不断地突显，因此如何在这个全球化和多元化的世界性场景中思考自己的设计文化身份，如何在一个全球化的设计场景中创造具有民族特色，并体现自身民族审美趋向的设计产品，是一个应该从理性的高度予以深思的问题。

Having failed in imperial examinations in 13 years, he achieved an ultimate knowledge that happiness comes after long suffering; His aesthetic personality underwent 2 stages at Yi-Yun-Ge—he pursued "spring" in earlier stage, and "autumn" in later stage, and in later period of his life at Yi-Yun-Ge, he pursued the Legalism with no impairment; Also demarcarated by his life at Yi-Yun-Ge, he self-assumed with arrogance in earlier stage and self-respected with Taoism in later stage in terms of his moral personality.

本文的人格研究着重探讨了其思想与人格形成的背景、审美人格、道德人格：倪元璐自幼受到父亲的儒家圣贤思想的教育，在亲身经历的十三年的举业挫折中深刻体会到苦尽甘来的人生道理及无穷的艺术境界；审美人格以衣云阁生活为分界线，前期追求春天，后期追求秋天，而且园客生活后期追求无害之"法"；道德人格以衣云阁生活为分界线，前期自任以狂，后期以道自重。

Therefore, good is relative value of the pursuit of self-balancing aesthetic standards.

所以，善是相对的自我权衡价值追求的审美标准。

Aesthetic becomes a guiding principle and strategy in life, and a self-content social guiding value.

审美成为生活的指导原则和策略，成为一种自足的社会指导价值。

Based on formal criticism and hermeneutics,this part reveals his tendency of seeking for aesthetic forms, and analyses his self-contradiction between forms and contents.

依据当代"形式"理论和解释学理论评述了金圣叹形式美追求的倾向，对他形式追求中的矛盾思想进行了深入分析。

It is clear that this is self-contradictory nature of human wealth to the aesthetic character.

显然，这种自相矛盾也是富于人类*的审美品格。

Also, the strong influence of "John Cage's shock" and the "afresh discovery" and cognition of his self-culture promote composer to actively and deeply think about aesthetic of traditional Japanese music and absorb it to his own music language.

此外，武满彻中期创作还经历了"凯奇冲击"的强烈影响和对自身文化的"重新发现"和认识，促使他主动和深入地思考日本传统音乐的美学和吸收传统音乐元素，并反映在创作实践中。

The first part states in a comprehensive way the research on Zhou Zuoren so as to define the purpose, methodology and significance of the dissertation. The second part analyzes the experience of Zhou's self-culture creation from a personal angle-Yue culture in Zhejiang gave Zhou a perceptual knowledge of folklore, while the idea of world folklore gave him a rational cognition of folk' culture. The combination forms a dual folklore. The third part observes Zhou Zuoren's examination of literarure from folklore's perspective as well as its pioneering significance. The fourth part explores in a further way Zhou's perspective of folk culture, and analyzes the method he has established to conduct literary criticism from the angle of folklore as well as his research on Chinese Culture. The fifth part analyzes the impacts folklore theory and folk culture have on the formation of Zhou' literary ideas, focusing more his folklore interpretation and humanism perspective about the origin and hist ory of literature, also his literary aesthetic standards about "ordinary humanism" and "loving amusement" from the position of folklore. The sixth part expounds Zhou's achievement in combining literature and folklore and explores the consistency of their focus on human, thereby presenting a complete picture of Zhou's literature. The last part generalizes the revelation drawing from the research done in this dissertation.

本文分为六章：第一章综述周作人研究的历史与现状，从而确定本文的研究目的、方法及意义；第二章从社会、时代背景、区域文化传统和个人文化选择的角度，阐释周作人选取民俗学视角观照文学的原因，侧重分析周作人自我文化建构的心路历程——浙江越文化传统的浸润给周作人以民俗学的感性认识，而世界民俗学的理念赋予他注重民间文化的理性精神；第三章考察周作人的民俗学研究及先锋意义；第四章进一步探讨周作人的民俗文化观，分析他确立的从民俗文化角度进行文学批评的方法，兼及他从民俗学视角进行的中国文化研究；第五章分析民俗学理论及民俗文化观在周作人文学思想生成中的影响，着重论述周作人关于文学起源和文学发展史的民俗学阐释、文学的民俗人性观，以及从民间立场出发所具有的"平凡的人道"、"有情的滑稽"等文学审美原则；第六章从创作实践方面，探讨周作人文学作品的民俗文化意蕴，进一步论述周作人将文学与民俗结合在一起的实绩，并揭示二者以"人"为核心的内在精神的一致性，从而呈现出周作人较为完整的文学风貌；最后是余论，指出这一研究的启示。

Most aesthetic concepts are pieces of displaced theology, and the work of art, seen as mysterious, self-dependent, and self-moving, is an image of God for an agnostic age.

多数美学概念是移位的神学碎片，被看作神秘的、依赖自我的、自我移动的艺术品是不可知论者时代的上帝形象。

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