乌托邦的

Futures Studies conceptualized in 1940, from 1960 to 1970 went through the peak of development in Philosophy of Science. The main proponents of Philosophy of Science, such as Positivism, Postpositivism and Critical Realism deeply influenced the futurists' ideas of the time concept in Future Studies. The understanding of time in Philosophy of Science continues the linear time frame of modern physics. Future is happening after the present event. In the field of Futures Studies, people expect futurists to predict futures accurately. When futurists are predicting futures, and mapping possible futures, they employ Holism and Utopian thinking. Karl Propper opposed Historicism of trying to plan a blueprint for society.

中文摘要未来学萌芽於一九四○年代，从一九六○年到一九七○年未来学历经了科学哲学发展的巅峰时期，科学哲学的思想滋养了未来学家的思考，其中实证论、后实证论与批判实在论这三种论点影响了未来学家在时间概念上思考方向，科学哲学对时间概念的理解延续了现代物理时间观上线性式看待时间的方式，未来是当前事件必然发生的结果；在未来学的领域里，成功预测未来是大众对未来学者的期待，当未来学者在预测未来，进行未来规划时，思想中预含了整体主义与乌托邦式的思考，Propper从反对历史定论主义的思想来驳斥建立社会蓝图的可能。

The main cause of his suicide was the severe conflict between his ideal and the reality; leaving from the reality, Ge Mai lived in a language Utopia, confused the reality and the dream, and the isolation, confusion, illusion and the self-closing was his spiritual state; there was a strong consciousness of death in his inner world which was irresistible to him and the "death" was the only way for him to get a new life.

理想与现实的剧烈冲突，是戈麦走向自杀的主要动力；与"现实"的疏离使他成为一个"厌世者"，他生活在语言的乌托邦之中，颠倒了现实与梦幻的关系，孤独、焦虑、幻想、封闭成为其精神状态；他的内心深处具有一种浓郁的死亡意识，死亡对他来说成了一种挡不住的诱惑，成为他获得"新生"的唯一途径。

For instance, Bakhtin's religious life reflects his prominent religious consciousness; Influences from the Christian culture and Russia's"Silver Times"serve as its religious background for his theory; Discourse Theory and Dionysiac Theory are taken as one of the theoretic resources which can be further delved into. Carnival elements in content forges a close relationship with the religious theme: carnival laughs and religious taboos, carnival body and religious aesthetics, carnival images and saints of the religion, carnival parodies and religious texts; In doing so, religious and spiritual appeals pervade, constructing a in the intimacy between the literature and the culture, and having an influence on contemporary literature and foreign literature studies in China. This dissertation, though criticizing Bahktin's illusion, i.e.

诸如：巴赫金的宗教人生，反映了鲜明的宗教意识；西方基督教文化和俄罗斯&白银时代&的影响，成为其理论得以产生的宗教背景；对话理论和酒神理论成为其可供挖掘的理论资源之一；狂欢的笑和宗教禁忌、狂欢的身体和宗教美学、狂欢的形象和宗教圣贤、狂欢的戏仿和宗教文本等，都通过狂欢理论的内容要素同宗教主题取得了紧密的联系，张扬着宗教精神诉求，构建了文学与宗教文化亲和中的乌托邦理想，从而对中国当代文学研究、中国的外国文学研究和宗教史研究产生了一定的影响。

Undoubtedly, this disclosure of subject has the clinical experience which is personal and male. It does not claim the right ideas to describe the Utopia of the equality of men and women, but it reveals the problem which is social and personal, objective and subjective, as well as male and female, opening its privacy and secret to manifest art or to become art by manifestness.

无庸讳言，这种对主体的揭示带有个体的、男性的临床经验，并不自诩思想正确并以此去描绘男女平权的乌托邦，而是坦露出社会的也是个人的、对象的也是主体的、男性的也是女性的问题所在，敞开它的隐匿性和私密性，让其能够在艺术中彰显出来，或者彰显出来成为艺术。

There is only the artist pinpoints that the subject consciousness of an individual should look into the numerous complicated social cultural problems to seek, in a certain survival and cultural context, for a recreative method to the individuality in an art language as well as other coexisting yet different individual speeches.

没有艺术&，是对艺术创作的风格、样式而言，没有原创性，没有建立在现代主义存在主义理论观念之上的乌托邦式的群体主体意识，艺术本体已不再能承担哲学观念化的具体社会意识化的重托；&只有艺术家，强调的是以个体的主体意识切入色彩纷呈、复杂多变的社会文化问题，在具体的生存与文化情境中寻找对艺术语言个性化再创造的途径，寻找与共存并置的其他艺术话语保持着差异的个性化话语。

"There is no art", referring to the artistic style and pattern, tends to say that there is no originality or the Utopian massive subject consciousness based on the modernist and existentialist theories. and, that tThe art subject itself can no longer carry the heavy burden of the philosophical ideation and a certain specific social ideation."There is only the artist" pinpoints that the subject consciousness of an individual should look into the numerous complicated social cultural problems to seek, in a certain survival and cultural context, for a recreative method to the individuality in an art language as well as other coexisting yet different individual speeches.

没有艺术&，是对艺术创作的风格、样式而言，没有原创性，没有建立在现代主义存在主义理论观念之上的乌托邦式的群体主体意识，艺术本体已不再能承担哲学观念化的具体社会意识化的重托；&只有艺术家，强调的是以个体的主体意识切入色彩纷呈、复杂多变的社会文化问题，在具体的生存与文化情境中寻找对艺术语言个性化再创造的途径，寻找与共存并置的其他艺术话语保持着差异的个性化话语。

Out of that dark, unstitched wound, that sink of abominations, that cradle of black thronged cities where the music of ideas is drowned in cold fat, out of strangled Utopias is born a clown, a being divided between beauty and ugliness, between light and chaos, a clown who when he looks down and sidelong is Satan himself and when he looks upward sees a buttered angel, a snail with wings.

从那个黑洞洞的未缝合的伤口、从那个令人嫌恶的臭水沟、从那个挤满黑压压人群的城市的摇篮（思想的乐曲就在这儿被淹没在动物油中）、从被扼杀的乌托邦中，生下一个小丑，一个半美半丑、半明亮半混沌的怪物，这个小丑向厂向旁边看时是撒旦，向上看时是一个涂了黄油的天使、一个长翅膀的蜗牛。

From describing the false and lonely world with a series of paradoxes and a kind of way to rescue, to outline the borderline world with the type of Utopia; and this world is full of the truth and the justice, the eternal art and the spiritual harmony, the beauty and the love, the sympathy and the compassionating for all the life; it is the dwelling-place of the soul and beyond the people's birth and death.

纳博科夫通过描摹一系列二元悖论共存的虚假、孤独的世界，通过&向生的死&这样一种营救方式，勾勒出一方乌托邦式的边缘世界：它被纳博科夫抽象为真理和正义、艺术的永恒、精神的和谐与共鸣、美与爱温柔相惜、以及对所有生灵的同情和怜悯统统包涵在其中完美的世界，几乎涵盖了所有的人性美德；它超脱于人的生死之上，是灵魂的栖居地。

Shen eulogizes the healthy and elegant way of life and humane and harmonious relationship among rural people in contrast to the urban world represented as the Other of his utopian West Hunan

沉讴歌生命和人道之间的对比的城市世界的其他代表的农村人的和谐关系的健康和他的乌托邦式的优雅的方式湘西

Shen eulogizes the healthy and elegant way of life and humane and harmonious relationship among rural people in contrast to the urban world represented as the Other of his utopian West Hunan—corrupted and decadent.

沉讴歌生命和人道之间的对比的城市世界的其他代表的农村人的和谐关系的健康和他的乌托邦式的优雅的方式湘西，损坏和腐朽。

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