查询词典 realism

They lose themselves in the titillation of language and form; they are infatuated with fragmentary appropriations of the classics; they are infatuated with the emptiness of decline and the passion of desire. As with the Western artists Jan Saudek and Joel-Peter Witkin, 'real-world objects should give up any idea of entering my pictures,' unless they undergo restructuring—by the artist's own taste and proclivities, by an amalgam of memory and fantasy, by a tone of pensive irony, or by seemingly absurd but in fact accurate imagination, thus restructuring the individual's relation to reality. It does not hurt to call these artists' work realism, but it is a kind of 'psychological realism' which 'extracts a deeper level of genuineness from fictive objects.

他们迷恋于语言与形式的快感，迷恋于对文化经典的片断性挪用，迷恋于衰朽的虚无或色欲的激情，与简·索德克、乔·彼得·威金（Joel-Peter Witkin）那样的西方艺术家相似，"现实中的事物永远别想进入画面"，除非是经过了他们的重构——以其个人的趣味与癖好，以混合着追忆与幻想、伤感与反讽的语调，以看似荒诞其实准确的想象力，重构了个人与现实之间的关系，你也不妨将他们的作品称之为现实主义，但那是一种"心理现实主义"——"从虚构的事物之中抽取出更深层的真实。"

In this thesis, the author compared Bi Feiyu with those traditional realistic writers form three aspects: the intimate extent between the writer and the readers; the recognition to the authenticity and typicalness of the details; the similarities and differences about the world outlook. Therefore, the author claims that perhaps it is more suitable to define Bi Feiyu as "Psychological Realism" or "Spontaneous Realism".

本文从作者与人物的疏离程度、对细节真实与典型的不同认识、世界观的异同等方面区分了毕飞宇与传统现实主义作家，认为如果以发展的眼光来看待现实主义，那么将他定义为"心理的现实主义"或"写意的现实主义"或许更为恰当。

Based upon such an expected aim, this thesis, using the form of commentary history of literature, has rather deeply discussed in the 20th century China's realism literature initiating problems situations, its beginning motives and actual development orientation, the problem of multiplication and univalence as one of the inner forming elements, the relationship between literature types and social cognition, problems concerning realism literature and modern China's internal anxiety, by focusing on problems such as"from Liang Qichao to Hu Shi,""Young Mao Dun's Upholding in Literature","Around Modern ","Lu Xun and the New Paradigms in Chinese Literature","Lao She's Style and His Concept about China", and"Hu Feng and Modern China's Subjective Anxiety", etc.

基于此一预期目的，本论文采用史论形式，以问题为中心选择了"从梁启超到胡适"、"青年茅盾的文学主张"、"在《现代》周围"、"鲁迅与中国文学的新范式"、"老舍的文体和他的中国观"及"胡风与现代中国的主体焦虑"等专题，较为深入地探讨了现实主义文学在20世纪中国兴起的问题情境、它的初始动机和实际发展路向、作为其内在构成要素之一的多样性与单一化问题、文学型式与社会认知之间的关系、现实主义文学与现代中国的内在焦虑等问题。

Extreme realism, mild realism and antirealism give three different kinds of definition on fictional object.

对虚构名称的指称的定义与哲学中对抽象对象的本体论地位研究交织在一起。

Finally it should be pointed out that re-examining the argumentation between the scientific realism and the antirealism, the new history wing represented by Shapere, leads the new historical principle to the scientific realism.

最后指出，重新审视科学实在论与反实在论之争，正是以夏佩尔为代表的新历史主义的一翼把新历史主义的方向引向了科学实在论。

Concerning this there has been a fierceargument between realism and antirealism since the 1970's. D.Davidson who is the leading exponent of realism advanced thetruth-condition semantics based on "truth", and M. Dummettrepresenting antirealism put forward the justification-condition semantics based upon "verification".

自70年代以来，以戴维森为代表的实在论和以达米特为代表的反实在论围绕意义问题展开了激烈的争论，前者提出了以真理概念为基础的成真条件语义学理论，后者提出了以证实概念为基础的辨明条件语义学理论。

Over a rather long time, the concept generally accepted by us meant the human art history witnessed the conflict between realism and antirealism, while our traditional Chinese "wenrenhua (painting of man-of-letters)" was judged by principles of popular Western realism.

采用别的方法，如用象征寓意的或抽象、荒诞语言的艺术，即使有现实的品格和精神，常常被归入到别的主义里去。20世纪以来，我们先后提倡过现实主义、革命的现实主义、&革命现实主义与革命浪漫主义相结合&的方法。

Scientific Realism; Scientific antirealism; Shapere; Rational Realism

科学实在论；反科学实在论；夏佩尔；理性实在论

Over a rather long time, the concept generally accepted by us meant the human art history witnessed the conflict between realism and antirealism, while our traditional Chinese "wenrenhua (painting of man-of-letters)" was judged by principles of popular Western realism.

当时的艺术先驱们引进欧洲油画有两个目的：让它在中国这块土壤上扎根、开花、结果，用这种语言来反映中国社会现实，推进社会的进步，建立中国的油画学派；从西方写实的油画艺术中吸收养料，以改良中国艺术。

DM Armstrong, Universals and Scientific Realism: Nominalism and Realism, I; FJ Copleston, History of Philosophy, III; RA Eberle, Nominalistic Systems; R. Seeberg, Text-book of the History of Doctrines, II.

马克阿姆斯特朗，共性和科学实在：唯名论与现实主义，我；福建Copleston ，哲学史，三；类风湿性关节炎埃贝勒，唯名论系统；河西贝尔格，文字书史的理论，二。

Hanna: That's over now, isn't it?

都结束了，对吗

You must be ill. You look so pale.

你一定是病了，你的脸色苍白。