唤起的

The theory of Confucianism founded by Lu Gu and Jia Yi was originated from the theory of Xun Zi, However, not the same as the thougt of Lu Gu, in the theory of Jia Yi, which reflected the aristocracy-oriented feature of the upper class, the ideology of aristocratism was aroused. Han Ying initiated the self-awakening man's original mind or nature and reestablished the theory of born good. His theory was regarded as an anabranch of Confucianism in the early stage of Han Dynasty, and a reecho of historical movement of the aristocratic theory of Confucianism advocated by Confucius and Mencius. During the periods of Emperor. Jing of Han and Emperor Wu of Han, an aristocratic upper class had come into being. Therefore, in the face of the society that experienced populace-oriented baptism, Dong Zhong-shu kept down the aristocratic components existed in Jia Yi's theory, absorbed populace-oriented consciousness, which formed the foundation for theoretical system, and transferred instrument-centered Confucianism to the one with sanctification. Thus, Confucianism acquired its theoretical remolding and historical transforming.

汉初的陆、贾儒学的思想理路是由荀学发展而来，但不同于陆贾之说，在贾谊思想里，作为当时上层社会走向贵族化这一时代特征的反映，贵族化思想成分开始被唤起；陆、贾之后的韩婴则倡导心性修养，重建性善论，他的学说是孔孟儒学贵族化历史乐章之回响，为汉初儒学的支流；景武之际，汉初上层社会已经完成了贵族化转变，为此，董仲舒保留了贾谊学说中的贵族化思想成分，然更为重要的是，面对一个经过平民化洗礼的社会，董仲舒吸纳平民思想意识以建构理论体系，将陆贾、贾谊承自荀子的工具性特征显著之儒学转变成具神学特征的儒学，使儒学获得一次理论上的大改铸，实现了儒学的历史转型。

When audience face these images, it is natural to invoke the memory of source images, and it is such basic memory or source images intention that produce the reaction and confrontation to Xu's works, spur his works to enter audience's habitual recognition of images, and combine thinking with image cognition to form new interpretation of images, as to highlight the dubiety of source images and to increase the possible reinterpretation of source images, but the artist's conceptual interference is not close-ended but discloses the mechanism of contemporary image reading: i.e. the interaction between image and audience, as result such works are the presence of artistic conception but the absence of artist and that artist doesn't stress the input of personal experience into the work, but looks for the methodology of image-construction and the combination of thinking methods for creating the entity of joint between image and language.

当观众面对这些图像时，很自然地唤起对原有图像的记忆，正是这种基本记忆或原图像意图的捕捉对许昌昌的作品产生了反作用和对抗，促使作品图像进入到观众的图像识别习惯中，将思考与图像认知结合，形成新的图像阐释，既是突出原图像的可疑性，又增加了对原图像的重新解释的可能性，但艺术家的观念介入并不是封闭的，而是敞开了当代图像阅读的机制：即图像与观众的互动性，这样的作品是艺术观念在场而艺术家缺席，艺术家不强调个人生活经验进入作品，而是寻求图像构成的方法论和思维方法论的结合，创造图像与语言切合的实体。

When audience face these images, it is natural to invoke the memory of source images, and it is such basic memory or source images intention that produce the reaction and confrontation to Xus works, spur his works to enter audiences habitual recognition of images, and combine thinking with image cognition to form new interpretation of images, as to highlight the dubiety of source images and to increase the possible reinterpretation of source images, but the artists conceptual interference is not close-ended but discloses the mechanism of contemporary image reading: i.e. the interaction between image and audience, as result such works are the presence of artistic conception but the absence of artist and that artist doesnt stress the input of personal experience into the work, but looks for the methodology of image-construction and the combination of thinking methods for creating the entity of joint between image and language.

当观众面对这些图像时，很自然地唤起对原有图像的记忆，正是这种基本记忆或原图像意图的捕捉对许昌昌的作品产生了反作用和对抗，促使作品图像进入到观众的图像识别习惯中，将思考与图像认知结合，形成新的图像阐释，既是突出原图像的可疑性，又增加了对原图像的重新解释的可能性，但艺术家的观念介入并不是封闭的，而是敞开了当代图像阅读的机制：即图像与观众的互动性，这样的作品是艺术观念在场而艺术家缺席，艺术家不强调个人生活经验进入作品，而是寻求图像构成的方法论和思维方法论的结合，创造图像与语言切合的实体。

Thy Godlike crime was to be kind, 36 To render with thy precepts less 37 The sum of human wretchedness, 38 And strengthen Man with his own mind; 39 But baffled as thou wert from high, 40 Still in thy patient energy, 41 In the endurance, and repulse 42 Of thine impenetrable Spirit, 43 Which Earth and Heaven could not convulse, 44 A mighty lesson we inherit: 45 Thou art a symbol and a sign 46 To Mortals of their fate and force; 47 Like thee, Man is in part divine, 48 A troubled stream from a pure source; 49 And Man in portions can foresee 50 His own funereal destiny; 51 His wretchedness, and his resistance, 52 And his sad unallied existence: 53 To which his Spirit may oppose 54 Itself--and equal to all woes, 55 And a firm will, and a deep sense, 56 Which even in torture can descry 57 Its own concenter'd recompense, 58 Triumphant where it dares defy, 59 And making Death a Victory.

三 你神圣的罪恶是怀有仁心，你要以你的教训减轻人间的不幸，并且振奋起人自立的精神；尽管上天和你蓄意为敌，但你那抗拒强暴的毅力，你那百折不挠的灵魂——天上和人间的暴风雨怎能摧毁你的果敢和坚忍！你给了我们有力的教训：你是一个标记，一个征象，标志着人的命运和力量；和你相同，人也有神的一半，是浊流来自圣洁的源泉；人也能够一半儿预见他自己的阴惨的归宿；他那不幸，他的不肯屈服，和他那生存的孤立无援：但这一切反而使他振奋，逆境会唤起顽抗的精神使他与灾难力敌相持，坚定的意志，深刻的认识；即使在痛苦中，他能看到其中也有它凝聚的酬报；他骄傲他敢于反抗到底，呵，他会把死亡变为胜利。

I thank the gods for giving me such a brother, who was able by his moral character to rouse me to vigilance over myself, and who, at the same time, pleased me by his respect and affection; that my children have not been stupid nor deformed in body; that I did not make more proficiency in rhetoric, poetry, and the other studies, in which I should perhaps have been completely engaged, if I had seen that I was making progress in them; that I made haste to place those who brought me up in the station of honour, which they seemed to desire, without putting them off with hope of my doing it some time after, because they were then still young; that I knew Apollonius, Rusticus, Maximus; that I received clear and frequent impressions about living according to nature, and what kind of a life that is, so that, so far as depended on the gods, and their gifts, and help, and inspirations, nothing hindered me from forthwith living according to nature, though I still fall short of it through my own fault, and through not observing the admonitions of the gods, and, I may almost say, their direct instructions; that my body has held out so long in such a kind of life; that I never touched either Benedicta or Theodotus, and that, after having fallen into amatory passions, I was cured; and, though I was often out of humour with Rusticus, I never did anything of which I had occasion to repent; that, though it was my mother's fate to die young, she spent the last years of her life with me; that, whenever I wished to help any man in his need, or on any other occasion, I was never told that I had not the means of doing it; and that to myself the same necessity never happened, to receive anything from another; that I have such a wife, so obedient, and so affectionate, and so simple; that I had abundance of good masters for my children; and that remedies have been shown to me by dreams, both others, and against bloodspitting and giddiness...; and that, when I had an inclination to philosophy, I did not fall into the hands of any sophist, and that I did not waste my time on writers of histories, or in the resolution of syllogisms, or occupy myself about the investigation of appearances in the heavens; for all these things require the help of the gods and fortune.

感谢诸神，赐我如此优秀的一位兄弟，他能够用自己的德行唤起我的自律，同时又用他的尊重和友情感动我；感谢诸神，我的孩子聪明伶俐，健康活泼；我没有沉迷于修辞、诗歌和其它这类学习，如果我以前发现自己学习这些东西时有所进步，那我可能会全身心投入其中；我毫不迟疑地把荣誉颁给那些抚育我成长的人，他们希望得到这一荣誉，但有人希望我过些时候再这么做，因为他们还年轻，我拒绝了；我还认识了阿波罗尼乌斯、汝斯堤古和马克西米鲁斯。清晰的印象经常出现在我心中，告诉我顺生自然，告诉我那是一种什么样的人生，因此，只要依靠诸神及其赐福，其保佑，其启示，就没有什么能阻止我顺生自然，尽管由于我自身的不足和没有注意诸神的警告（或者差不多可以说是诸神的直接指令），我还不能完全做到；我的身体已经维持了很长一段时间这种生活；我永远不会接触本尼迪克特或狄奥多士，我曾经陷入恋爱的激情，但现在已经摆脱；当我和汝斯堤古在一起时常常发脾气，但我从来没有做过一件让人后悔的事；尽管命中注定我母亲要夭亡，但她生命中的最后一年是和我一起度过的；每当我希望为人排忧解难或做其它事的时候，我从未告诉别人我爱莫能助；对我自己而言我从未陷于一筹莫展之地，需要别人的帮助；我有一位如此贤惠的妻子，温顺、挚爱、单纯；我的孩子有足够的好老师；神通过梦和其他方式向我指明了药物，用来治疗咳血、眼花等等疾病；当我迷上哲学时，没有被任何一个智者所迷惑，我没有浪费时间去撰写历史，思考三段论，或研究天象；因为所有这些需要得到神和命运的帮助。

When those days elapsed, adidas classic's theme is based on Playground. Adida Classic is known for its cloth's color and chidren's clothes. Its main color is infused with 1993 Old Millfun. When rotating Trojans, slides and clover ice cream inadvertently arouse childhood memories, playful avant-garde artists such as Delaware, Bob Foundatio, MEWE, Markus Hofko and Gaston Caba also attended the exhibition. Markus Hofko and Gaston Caba are taking photos and clipping video slips for the exhibition while artists expressed their creative ideas through the design of adidas Originals by Diesel. Adidas fully completely neglected the atmosphere of the current mainstream fashion enabling the guests to play to the core.

就在童年的一切在步履匆乱的时代似乎将要被掩埋，adidas三叶草经典系列以『游乐场』为主题，凭借五彩斑斓的色泽及童趣十足的线条为1933 老场坊原本冷色调的空间注入了一派生机盎然而又童趣十足的玩乐意味――当旋转木马、滑梯与三叶草冰淇淋不经意间唤起童年的记忆，更有童心未泯的前卫艺术家Delaware、Bob Foundation、MEWE设计联盟、Markus Hofko和Gaston Caba等为今次派对所特别拍摄的视频短片及摄影作品点缀其间，而艺术家们亦在adidas Originals by Diesel牛仔裤的设计中表现出了个性张扬的创意思考……adidas完全抛却了时下主流时尚派对过于凝重的气氛，令嘉宾们忘情而轻盈地玩耍其间。

The people and objects floating through Gao Bo's works are without roots - perhaps they come from a momentary memory or a spark of interest. Looking at Gao Bo's works brings pictorial information stored deep in the mind to light, yet within a second these mind-images fade again, leaving behind a memory of all the images that lie underneath Gao Bo's warm and languid sketching. In Gao Bo's consciousness, these images don't stop at realism or simply exposit like some historical legend - in the end they reach towards the fringes of nothingness.These images can call up rich associations in our minds yet often these are false associations. For example, in "Gray Face" this is not the mystical dog of the god Erlang in Journey to the West; the rickety bridge in "River Bed" is certainly not a reference to a rainbow in Heaven; the story of "Contest" is not about two dogs running and pretending to be in love but a story of race dogs controlled by humans.

散漫在高波作品中的人与物没有根源，也许它们是源于个人瞬间的兴趣和记忆，有关知识的、情感的和在脑子里存储的图象信息随之而来，也可以随之而去，只是在温和缓慢的描绘背后还有一丝对所有形象匆匆停留过后的怀念，它们在高波的意识之中并不是一次停留于现实或者历史神话般司空见惯的陈述，它们的结果最终都是通向虚无的边缘，尽管那些形象似乎可以唤起我们丰富的联想，比如《灰色的脸》，它绝不是西游记中二郎神的天犬，在《河床》中不牢靠的拱桥，肯定不是寓指天堂里的彩虹，《竞赛》讲述的故事并不是两只在假装为爱情奔跑的狗，而是被人为所驱使的赛狗。

WIt wasn't till several years ago that the idea of returning to nature overwhelmed society. As the world progressed, the demand for better interior design increases. It is no more European or American splendour nor is it traditional designs that take precedence in today's interior designs. Instead, there is a heightened demand to fuse these unique elements and to recreate spaces that emphasise togetherness. The interaction of space, hence, becomes an important aspect in conceptualisation. Showflats are artificially conceived spaces built to evoke inspiration for interior design. At the same time, it takes a confidential peep at others'"perfect" private room by looking at the showflat as the reference of their lives.

直到几年前，回归自然的概念开始充斥着整个社会；随着世界的进步，人们对室内设计的要求也越来越高；如今室内设计不再追求欧美的华丽风或是传统风格，相反的，而是要将这两种单一的元素融合在一起来形成统一的空间；因此，空间的相互作用将变成设计概念上重要方面；样板房是一种能唤起人们对屋内设计灵感的一个人为设计的空间，它的魅力在于能够通过样板房窥视他人的生活的完美空间来作为自己室内设计的参考。

Dante, I think, committed a crude blunder when, with a terror-inspiring ingenuity, he placed above the gateway of his hell the inscription "I too was created by eternal love"—at any rate, there would be more justification for placing above the gateway to the Christian Paradise and its "eternal bliss" the inscription "I too was created by eternal hate "—provided a truth may be placed above the gateway to a lie!

我觉得但丁在这里犯了一个大错误，他凭着一种能唤起恐惧感的机灵在通往他的地狱的大门上写下了&我也是被永恒的爱创造的&，——不管怎么说，在通往基督教的天堂和&永恒的极乐&的大门上应当更有理由写上&我也是被永恒的仇恨创造的&，让真理站在通往谎言的大门上！

Then the task of the process, i once again realize the dream of disney's motives, it is our childhood in tandem with the most simple and best memories, the beautiful snow white, mickey mouse lovely, good little match girl, a singly the most profound fairy tale characters, this time fresh in front of us, let us draw a childhood memory of that piece of brilliant, let's return to childhood that the most innocent smile!

接任务的过程中，我再一次体会到了梦幻迪斯尼的用心，它在串联着我们儿时最单纯，最美好的记忆，美丽的白雪公主，可爱的米奇老鼠，善良的卖火柴的女孩，一个个儿时最深刻的童话人物，此刻鲜活的展现在我们面前，让我们唤起了儿时那片灿烂的记忆，让我们重归于儿时那种最天真的笑容！

According to the clear water experiment, aeration performance of the new equipment is good with high total oxygen transfer coefficient and oxygen utilization ratio.

曝气设备的动力效率在叶轮转速为120rpm～150rpm时取得最大值，此时氧利用率和充氧能力也具有较高值。

The environmental stability of that world - including its crushing pressures and icy darkness - means that some of its most famous inhabitants have survived for eons as evolutionary throwbacks, their bodies undergoing little change.

稳定的海底环境─包括能把人压扁的压力和冰冷的黑暗─意谓海底某些最知名的栖居生物已以演化返祖的样态活了万世，形体几无变化。