反传统文化

"Ji-Li" means close fortuitous and avoid inauspicious, or bring big fortune. And the word of "Ding" is the assonance of "Light", which has the significant meaning of bringing the prosperity of money and population. The year of 2006, the Dog year in the Chinese lunar calendar, is also the first Dog year in the twenty first century. The work of "Ji-Li Ding" created by Taiwanese artist, Akibo, is using concisely line to produce technological and futurity forms rather than immature cartoon format. Besides, the idea of using the red signet express the origin of our culture and character which has combined the meanings of traditional concepts and future prospects includes creativity, fashion, and traditional culture aspects. And, it also conveys the character of dogs – curiosity, loyalty, and courage.

吉利」是人民在年节时分殷切的期待—「趋吉避凶」、「大发利市」，「丁」则与「灯」的闽南语谐音，深具「添丁发财」、「人丁兴旺」的意涵。2006丙戌狗年，也是21世纪的第一个狗年，艺术家李明道Akibo创作「吉利丁」，作品的造型跳脱俗化幼稚的卡通感，反以俐落简约的线条勾描出科技感与未来性，饱满纯净的用色与圆章的创意，则又彰显文化的起源与特色，揉合传统与眺望未来，兼具创意、时尚及文化传统，也同时拥有狗儿热情顽皮的特性，也具有忠诚与骁勇的意涵。

It is many alleged nation network swims instead making the old standard that promotes ethical culture tradition, traffic them wantonly that is dilettante cannot again dilettante bag is worn ethical culture appearance, the net that is full of very yellow very violent kernel however swims, but these game return at least is conduct propaganda merely, unapt still bold-faced to go infiltrating education is encircled, do to wrapping around the wolf of sheepskin, go pretending to be educational game, will cheat the parent, come prevail on adolescent indulges, will lend this him hype, come be ignorant of is worn conscience makes money.

反而是大量的所谓民族网游打着弘扬民族文化传统的大旗，大肆贩卖他们那浅薄的不能再浅薄的包着民族文化外衣，却充斥着很黄很暴力内核的网游，但起码这些游戏还仅仅是宣传，还不至于厚颜无耻到去打入教育圈，做一头披着羊皮的狼，去冒充教育游戏，来欺骗家长，来诱使青少年沉迷，来借此炒作自己，来昧着良心赚钱。

It is valued solely as an ersatz and according to its image as a product in itself.

与调侃针对社会政治话语资源和戏仿针对文化传统话语资源不同的是，反讽针对的是人们的日常生活常识，它以现实的表现手法向观众提示，任何事物以及表述事物的方式都是偶然的历史和环境的产物，背后没有任何超越时间和机缘的永恒不变的所谓真理。

The revolutionary features of evolutionary psychology are embodied in its objecting to SSSM, and to relativist psychology and traditional cultural psychology.

进化心理学的革命性体现在：反对标准社会科学模式；反相对主义心理观和传统的文化心理观。

Thud, we can have a whole analysis of Chinese cultural tradition only if we have a serious reconsideration of this kind of odd phenomenon.

只有认真地反思这样的"背反"现象，我们对自己的文化传统的分析才可能是全面的。

However, during New Trend '85, Gu Wenda differentiated himself from most artists of Chinese Painting of the time and showed his contemporary consciousness by experimenting on traditional ink painting materials and techniques. This brought out a new possibility for the contemporaneity of Chinese Painting. Since then, unremitting efforts have been made to "modernize" Chinese Painting through traditional abstract elements like ink-wash and Calligraphy. These efforts streamed into a new trend called "modern ink"(or "abstract ink","experimental ink") in late 1980's, though seemed not widely acknowledged for its resemblance to Abstract Expressionism of 1960's and 1970's American art. What is interesting is that while some artists are endeavoring to "westernize" their art, a new trend grouped as "Neo-literati Painting" appears with very traditional form and mood. This can be explained as a group of people's resistance to the reformation of traditional culture as well as their nostalgia to traditional ideals. However, this school tends to be artificial for the absence of the particular context, and the expression with traditional brushwork is also regionally limited. Of all the efforts of reformation, Chinese Painting that accordingly adopts the tradition heads the list because of the cultural identification of the big number of population and greater market as a result of the economic growth of China. Meanwhile, the immense conservative inertia of traditional Chinese culture can also be detected.

在"现代艺术"风起云涌的"85新潮"中，谷文达以传统水墨的材料和方法表达出不同于当时大多数中国画艺术家们这种文化心态和文化认知的现代意识，为中国画的现代性提供了一种方案；以水墨、还有选择中国传统书法的抽象因素等可能来进行现代性探索，一直是中国画连绵的努力，在80年代后期汇聚成"现代水墨"（又或曰"抽象水墨"、"实验水墨"），是中国画的又一流向，但是不是没有脱离60、70年代美国的"抽象主义"意义，反而还有了拾人牙慧之嫌，所以始终难以获得更大的认可和成功；很有趣的是，与此"西化"流向同时的，还有以非常传统的方式出现的"新文人画"潮流，或许可以把这看着是部分中国文化人在中国以西方为参照的新文化背景下对之的抵制，对传统理想的怀念和诉求，但由于已经失去了其语境和环境，"新文人画"显得娇情和造作，而且这种以非常地域化的传统笔墨语言来表现的方式也失去了更为普遍化的可能；反而是延续传统一脉的国画，由于有巨大的人数基础的本土文化的认同，在中国经济发展后有了更大的市场，所以还是蔚然为中国画的一大潮向，从这也可以看到中国文化承传的保守性的力量。

Liu Liguo's works in the mid 90s mainly combined exquisite ancient porcelain bottles with vulgar human hips to create a kind of Chinese-style pop art.He intended to criticize the developing culture of consumption society in the 90s,and at the same time to ironize the phenomenon that the fashionable western pop art had become a vulgar farmer-style art in China.

刘力国在九十年代中期的作品主要是将中国传统代表高雅的古代瓷瓶与恶俗的身体臀部组合在一起，他的观念主要是制造一种中国式的波普艺术，对九十年代正在形成的消费社会的文化进行批判，同时也对时髦的西方波普文化在中国变成一种农民式的低俗波普进行反讽。

The red light was accompanied by a snatchy conversation of a woman making a phone call in an affected accent. Afterwards it was a man on the phone, talking the same thing as the woman. And then the blue light was on, there came thought the sound of turning pages of the ancient book, and the sound of tearing up papers.

这是一部温和的作品，其中的诙谐也好，反讽也罢，都是沉寂、静态而内省的，但艺术家的真实意图仍然可以被明确地捕捉到：当那双手翻动古书时，其影像的表现是端庄的，肃穆的，甚至带有悲剧的色彩--这是对已逝去的文化传统美学传统的当代性致意。

Abroad of punk although the earlier period be also a kind of depravity of underground culture, publicize be original meaning anti- oppress and to reality of disaffection, with as for think change this kind of present condition.To now be gradual development to become a kind of young, have imagination dint, creative power, there is vitality, drive not tradition restrain of of culture, even is to life of fine look forward to, although some part still incline toward violence and gray, this kind of violence what to say youngly dare to play to dare to do, not local of dozen dozen kill, dying live come what of.

国外的朋克，虽然早前期也是一种堕落的地下文化，宣传予以本义反压迫和现实的不满，至于想改变这种目前condition.to现在逐步发展成为一个种年轻，有凭借的想象力，创造力，有活力，驱动器没有传统约束的文化，甚至是生命的罚款期待，虽然有些部分仍倾向暴力和灰色的，这种暴力行为说些什么youngly敢于发挥，不敢做，而不是当地的十几个十几个杀死，死亡的活来有什么of.why动摇一个机构在国内的变化呢？

The paper firstly examines the philosophical background. It holds that philosophical currents such as phenomenology and existentialism have an effect on this theory to some degree, and then traces the inner logic of origin and development of the theory from post-modernism and "anti-cultural" trend. Afterwards, it generalizes several important post-modern theorists such as Alain Robbe-Grillet, Roland Barthes, Susan Sontag, Michel Foucault, Jacques Derrida, Gilles Deleuze, Jean Baudrillard and so on. The paper proposes that "against-interpretation" is not only a literary critical claim, but also a cultural theory. Its attitude that overthrows and rebells tradition makes it inevitably tend towards the logic of deconstruction.Chapter two, chapter three and chapter four analyze in detail of Robbe-Grillet, sontag and Baudrillard respectively, and systematicly discuss the aesthetics pursuit and the cultural significance of the theory against interpretation through comparing the thoughts of them.

论文首先对反阐释理论产生的哲学背景作了辨析，认为现象学和存在主义哲学思潮在某种程度上对反阐释理论产生了一定的影响；再从60年代之后，后现代主义对现代性的批判与美国的&反文化&潮流两方面追寻反阐释理论产生与发展的内在逻辑；然后又概括介绍了阿兰·罗伯—格里耶、罗兰·巴尔特、苏珊·桑塔格、米歇尔·福科、雅克·德里达、吉尔·德勒兹、让·博德里亚等几位对反阐释理论发生过重要影响的后现代大家，指出&反对阐释&不只是一种文学批评主张，还是一种文化批判理论，它对传统的颠覆与反叛姿态使它不可避免地走向了&解构主义&的逻辑。

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