启蒙的

This article proposed: First, the political philosophy and latter modernism are to the initiation inheritance profound resonsideration, but their standpoint is different; Second, the political philosophy's subject is just, but regarding anything is just, the new liberalism interior is debated, between it and the social group principle's argument is more intense; Third, the initiation

本文提出：第一，政治哲学和后现代主义是对启蒙遗产的深刻反思，但它们立场是不同的；第二，政治哲学的主题是正义，但对于什么是正义，新自由主义内部是充满争论的，它与社群主义之间的争论则更为激烈；第三，启蒙是一项未竟的事业，新自由主义和后现代主义都不可能终结启蒙。

In the third chapter, by analyzing the relationship of the enlightening narration and the narration of daily life which assisted, penetrated and covered with each other, we can find the distinct feature of Tie Ning"s novels: It has the kindness of daily life narratives in the enlightening of life .In addition, by analyzing the narration of daily life, double position of intellectual and Populace, and the distinct feature of Tie Ning"s novels which enlightening narration had been added into narration of daily life was presented.

第三部分，在全面分析自"五四"以来文学叙述中启蒙与日常生活叙事相互纠缠、遮蔽的关系，指出铁凝作品的独特性：生命启蒙之中透露着日常生活化的温暖，通过对其文本中日常生活叙事地分析，揭示其将启蒙叙事融注在日常生活叙事之中这一独特性，及其知识分子和平民化的双重立场。

By the close reading of the first excursus of Dialectic of Enlightenment,"Odysseus,or Myth and Enlightenment",section one dipects five faces of enlightenment spirit that is calculation,positivism,logic,asceticism and hedonism,and analyses the dialectics of myth and enlightenment:technology and science has become an ideology, enlightenment reason has become instrumental reason.

第一节通过对批判理论的重要文本《启蒙辩证法》之附录一《奥德修斯或神话与启蒙》的文本细读，描绘了启蒙精神的五副面孔：计算、实证、逻辑、禁欲、纵欲，进而分析了启蒙与神话的辩证法：启蒙理性——工具理性，科学技术——意识形态。

When American Pop art met the Chinese modernism in that very context, a certain mystery was produced: Pop art was readily understood as a Dadaist destructive art, while its cultural deconstructive property seemed to be ignored. By the early 1990s, due to the political reason, China had undergone its rapid social and cultural transition from Enlightenment era to consumerist era, while artists, who were still in despair because of the failure of cultural Enlightenment movement, found themselves confronted with a completely new economic market and their ideas mingled with those of modernist Enlightenment and post-modern deconstruction.

它以风格上挪用、平面化、去意义、去价值这类语言策略解构和消除现代主义的启蒙神话，成为与后现代主义哲学同构的文化思潮。80年代初沃霍尔访华，尤其是1985年劳申伯在北京和拉萨举办个展开始了美国波普主义在中国的传播，而这时正值中国85现代主义运动的高潮，启蒙和反叛是这一运动的主题，正是这种语境使这种传播产生了十分吊诡的意义落差：波普主义很轻易地被理解为一种达达式的破坏性艺术，而它的文化解构主义色彩反倒不易被体会。90年代初中国社会由于政治的原因急促地完成了由启蒙文化向消费文化的转型，艺术家们还沉迷在文化启蒙运动失败的悲壮气氛中却突然发现自己已深陷在一个一完全陌生的经济世界中，理想的失落和批判身份的丧失使他们的思想开始混杂于现代主义的启蒙建设和后现代主义的解构观念之间，于是，波普主义成为这个时代的一种自然的风格选择。

Its manifesting formality was in proximity to non-rationality, but the ideological arms they made use of to oppose the repudiation and re-evaluation of all traditional values was undoubtedly modern rationality that the modern enlighteners admitted. This phenomenon is just the tactics of"the derationalization of rationality"in the enlightening process.

近现代思想家阐发自己的启蒙思想时，往往以情感——信仰——意志这一思想框架为特点，并顺理成章地将文学创作提到实现启蒙目的的至关重要的地位，其表现形式接近非理性，但藉以反对批判与重估一切传统价值的思想武器却无疑是启蒙者所体认的现代理性，此现象即为启蒙过程中的&理性的非理性化&策略。

With the method of elucidatory and phenomenology, resort to ultimate view, we can probe into the meaning of enlightenment, then find the multi-form of it, such as: rational form, non-rational form, and so on.

运用阐释学和现象学的方法，在终极视域下对启蒙进行探索，我们发现启蒙包含着理性启蒙和非理性启蒙等多种形态。

Third, most of Schwartz's energy went into the study of the history of Chinese thought, and his reflection on the western enlightenment was accomplished through his interpretation of the culture of Chinese thought. He used the method of "Weberian Verstehen" to interpret Mao Zedong, Yan Fu, Zhu Xi and even the pre-Qin thinkers of antiquity, thus he made many ground-breaking studies and interpretations of China's old tradition, the modern tradition, and the tradition inaugurated by Mao Zedong. Thus he provided rich academic resources for scholars in east and west, and, even more important, he can provide rich, manifold, detailed and deep local sources for the construction of the spiritual culture of China and for the moral culture of China, which are rapidly modernized.

第三、史华慈一生的精力主要用在中国思想史的研究上，他对西方启蒙的反思是经由他对中国思想文化的诠释而达成的，他对毛泽东、严复、朱熹到先秦诸子都采取别人难以企及的&韦伯式理解&，因此对中国的古老传统、中国近现代传统和毛泽东所开辟的传统，都做了了大量的开拓性研究与诠释，这不仅给中西学术界提供了丰富的学术资源，而且更主要的是可以给正在迅速现代化的中国思想文化与精神道德的建设，提供了极为丰富多彩且深刻细密的本土资源。

With the changes from advocating enlightening to introspecting it, the cultural modernity fissions to aesthetic modernity, which formed the conflict between aesthetic modernity and enlightening modernity, which is so-called "the conflict of the two modernities".

随着从鼓吹启蒙到反思启蒙，文化现代性又裂变出审美现代性，从而形成审美现代性与启蒙现代性的对抗，这就是学界所谓的&两种现代性之争&。

In this controversy, the faction of autarchy went to the opposite of the standpoint of liberalism and expressed their adoration to the authoritarianism. This was because they did not finish the mission of the enlightenment and did not overstep traditional culture. For the faction of democracy, they stuck to the position of the liberalism but lapsed from the principle of the value of the liberalism to some extent. This was mainly because they were wildered between instrumental rationality and value rationality of the liberalism and had defects at value rationality. And for the third faction, the faction of Revised Democratic Politics, they tried to seek balance of power and liberty, but finally, they leaned to the power and the liberty would probably dissolve. This was because they had excessive confidence in nous construction and earnestly hoped that we had a powerful and prosperous country.

在论战中独裁派完全走向了自由主义价值立场的对立面，表现出对权威主义的崇拜，这主要是基于独裁论者未完成启蒙的历史使命和对传统的超越；民治派虽然坚持自由主义的立场，但他们在一定程度上背离了自由主义的价值原则，这主要是基于民治派迷失于自由主义的工具理性与价值理性之间，在价值理性上有阙失；第三派，即&修正的民主政治&派，试图在权力与自由之间求得平衡，但最终还是偏向于权力，自由有消解的危险，这主要是基于该派对于理性建构的过度自信和对国家强盛的热切。

If investigating from Oe's postwar re-enlightenment conscious, we can find that the enlightenment conscious appears clearly in The catch and Nip the buds, shoot the kids, so they can be called apparent enlightenment writings.

如果从大江在《奇妙的工作》等作品中初露端倪的战后再启蒙意识的角度出发进行考察，《饲育》和《找芽击仔》这两部作品显示出清晰的启蒙意识，可以说是显见的启蒙文本。

They weren't aggressive, but I yelled and threw a rock in their direction to get them off the trail and away from me, just in case.

他们没有侵略性，但我大喊，并在他们的方向扔石头让他们过的线索，远离我，以防万一。

In slot 2 in your bag put wrapping paper, quantity does not matter in this case.

在你的书包里槽2把包装纸、数量无关紧要。