乌托邦的

These ideas are expressed in A Modern Utopia (1905) and many of Wells's later works, but he had already given them dramatic expression in The Food of the Gods, and How it Came to Earth (1904), in which the anti-intellectual stupidity and fear of the general population are contrasted bitterly with the splendour of the new race of giants unencumbered by medieval prejudice.

这些想法表现在《现代乌托邦》（1905）以及他接下来的作品中，但在《神食》和《它如何来到地球》中他对此戏剧化的加以表现，在其中反智力的愚行和大众的恐惧，与杰出的不受旧成见束缚的新巨人种族形成了痛苦的对比。

This book is an in-depth study of contemporary Chinese art, touching upon modern ink painting, architecture, performance art, etc, The book is separated into five chapters: Modern consciousness and the establishment of a Chinese contemporary art methodology; The significance of the utopia of modern materials in contemporary Chinese architectural theory; the crisis in contemporary ink painting; maximalism, and artist case study with Xu Bing.

《另类方法另类现代——艺术大视野丛书》"Art Horizon Series： Special Method in Kind， Special Modernism in Kind"本书针对中国当代艺术进行深入的研究，内容涉及现代水墨、建筑、行为艺术等，分为五章：现代意识与中国当代艺术方法论的建立；现代物质乌托邦在中国当代建筑方法论中的意义；中国当代水墨的危机是缺乏方法论；极多主义：一种现代主义的幻觉；一个艺术家个案的研究：徐冰的艺术和方法论。

Utopia is a word borrowed from the west, which originally referred to a non-existant land. Imaginary as Utopia is, there is a universal connection, direct or indirect, between this invented world and the real one.

乌托邦是个来自西方文明体系中的词汇，它的原意是指一个虚构的不存在的地点，一种被杜撰和假想的空间状态，但它又是与真实社会中的空间有一种直接或转换的普遍关系。

It is the spirit of mission of creating an earthly"new man and newworld"through the passion of ultimate moral goodness expressed in Confucianmatrix of"interior saintliness and resultant exterior kingship"that constitutesthe most important content of Chinese utopianist spirit.

正是儒家"内圣外王"的思想母题所显示的以道德至善论的激情创造世俗的"新人与新世界"的使命精神，构成了中国乌托邦主义精神的最主要的内容。

When several villages are united in a single complete community, large enough to be nearly or quite self-sufficing, the state comes into existence, originating in the bare needs of life, and continuing in existence for the sake of a good life.

政治学》（最佳国家，乌托邦，宪法，革命）等到由若干村坊组合而为"城市"，社会就进化到高级而完备的境界，在这种社会团体以内，人类的生活可以获得完全的自给自足；我们也可以这样说；城邦的长成出于人类"生活"的发展，而实际的存在却是为了"优良的生活"。

It was in this cultural context that Dostoevsky formed his religious outlook which, based upon Eastern Orthodoxy, includes his dialectical perception of God, his contemplation of theodicy, his assertion of immanent divinity in man, and his idealization of a universal religion besides his reception of the main doctrine, all of which of course were absorbed into his personal experience and served as constraints to his poetic principles.

陀思妥耶夫斯基就是在这一语境中形成其宗教观的，这种宗教观以东正教为基础，但融入了他自身的特殊体验，除了对某些主要教义的接受之外，还包括对上帝的辩证体认、神正论思考、对人的内在神性的肯定、对普世宗教的乌托邦理想等，这些思想是构成其诗学原则的制约因素之一。

By analyzing the philosophical implication of Tong Tian Ta, an " anti-utopia n" fable novel by Zhang Yuan-shan, this paper holds that the protagonist, who started with building a tong tian ta to redeem the world and destroying mankind to salvage mankind, ended up leading a secular befuddled life under the impact of Zhuang Zi s skepticism and relativism.

文章对张远山的&反乌托邦&长篇寓言小说《通天塔》的哲学寓意进行了深入的分析，指出作品的主人公为了救世而建通天塔，为了救人类而毁灭人类，但终于经由庄子的怀疑主义和相对主义而返回世俗生活的醉生梦死。

Below all these mines which we have just mentioned, below all these galleries, below this whole immense, subterranean, venous system of progress and utopia, much further on in the earth, much lower than Marat, lower than Babeuf, lower, much lower, and without any connection with the upper levels, there lies the last mine.

在我们刚才所指出的那一切坑道下，在所有那些走廊下，在进步和乌托邦那整个庞大的地下管道系统下，在地下还更深许多的地方，比马拉还要低，比巴贝夫也还要低，再往下，再往下深入许多，和上面的那几层绝无关系的地方，还有最低的泥坑。

We picked up our stuff in the dark in a hurry, may be my words misled Tiu Tiu and Hong Se, both of them not only changed gowns, but also slept in the nude. Don't misunderstand, I heart these from both of them, not I watched by myself.

我们在黑暗中慌忙的整理自己的东西，可能是我的的话误导了丢丢和乌托邦，她两个不但换了睡衣，还真空包装的睡觉了：），看到此处各位兄弟姐妹们不要误会，俺这是听她们自己说的，并非亲眼所见^_^。

Just as the salvation is not gorgeous paradise but God is with the victims in Rouault's paintings, the salvation in Jianjun Shi'a paintings is not romantic utopia but small thorns reminding us of bitter experience.

如同卢奥作品中的拯救不是华丽的天堂而是上帝与受难者一道受难一样，石建军作品中的拯救不是浪漫的乌托邦而是唤起我们刺痛经验的渺小的荆棘。

As she looked at Warrington's manly face, and dark, melancholy eyes, she had settled in her mind that he must have been the victim of an unhappy attachment.

每逢看到沃林顿那刚毅的脸，那乌黑、忧郁的眼睛，她便会相信，他一定作过不幸的爱情的受害者。

Maybe they'll disappear into a pothole.

也许他们将在壶穴里消失