在西方

This chapter is divided into three sections, section I, for the analysis of "Lao Zi" annotator in Qing Dynasty in the impact of three religions, it was agreed that "eliminate emotion and regress to humanity" idea. Section II to illustrate mainly the traditional "Lao Zi" annotation in Qing Dynasty, the impact in Western countries began to accept the idea of Western Ideas, output the first "Lao Zi" annotation base on Western Ideas –Yan Fu "Ping Dian Lao Zi"; Section III of "freedom, democracy, equality", to discuss Yan Fu think "Lao Zi" already have many of the modern social values:"free","equality","teamwork".

本章共分为三节，第一节为「复性化情」，析论清代《老子》注家在三教思想的濡染下，一致提出「复性化情」的主张，作为体道、得道的路径；第二节为「会通之道」，说明以传统守成态度为主的清代《老子》注，在西方国家的冲击下，开始接纳西学的理念，开出了第一本以西学解老的著作──严复《评点老子》，此书反映了他中西学术兼容并蓄的思想，他不仅融合儒、释、道的概念，更将西方的科学、哲学纳入《老子》的思考当中；第三节为「自由、民主、平等」，旨在讨论严复认为老子书中已经具备许多近现代的社会价值：「自由」、「平等」「合群」的概念。

It is in accordance with this that it was in the West, after all the struggle was over, that the Trinitarian doctrine was completely systematized by Augustine; in the West, that the Athanasian creed was formulated.

它是根据本说，这是在西方，毕竟，斗争结束了，这三位一体的教义是完全系统化，由奥古斯丁在西方国家，认为阿他那修信经教义制定的。

Jean Bodin (1530-1596) is the political theorist in the sixteenth century. His contribution to the political thought is focused on his theory of state, especially on his theory of sovereignty. In this treatise, the author tries to explain his theory of state systematically, based on the former study. It will include the origin of state, conception of state, end of state, theory of sovereignty and so on .

16世纪法国政治思想家让·布丹（Jean Bodin 1530－1596）在西方政治思想史上的贡献主要集中在他的国家理论，尤其是他的国家主权理论中，本文则试图在总结前人研究成果的基础上，系统论述布丹的国家理论，包括国家的起源、国家的目的、国家主权理论和政体理论等，使其国家理论更加完整，并客观评价他在西方政治思想史上的地位。

However, the traveller encountered drastic transformation after his contact with the Other in the Pacific. In his last travel writing In the South Seas, Stevenson adopted a contrapuntal viewpoint located in the space of "liminality," challenging the Western hegemonic discourse of imperialism. His anti-imperialist tendency offended his contemporary readers, and the struggle between two cultures rendered the travel text fragmented.

但是，旅行者的自我在交会区与差异极大的他者接触之后，旅行者的自我发生转变，在《南太平洋记行》采用「阈越的空间」的对位观点，呈现出反帝国主义的倾向，这种反帝国主义论述的倾向遭到当时西方读者的排斥，同时在西方与南太平洋文化的两相拉扯之下，呈现出支离破碎的文本。

In second section, I introduce two kinds of second generation model of Currency crises. One is about how currency crash happens under conditional shift in the growth rate of domestic credit. The other is derived for a monetary rule with an escape clause. In third section, I introduce some new developments in currency crises.

第三节在对第一和第二代模型进行简要对比分析和批评的基础上，介绍了近年来西方货币危机理论的一些最新发展，此外在第一节，笔者还简单介绍了关于投机稳定性问题在西方经济学界的一些争论，作为全章分析的一个铺垫。

In the western history of art, especially in the modern painting history of 20th, there were many modern painting trends, such as Fauvism, Cubism, Futurism, Dada and Surrealism, etc.

在西方美术史上，尤其是在二十世纪西方现代绘画史上，产生过许许多多的画派，如野兽派、立体派、未来派、达达派以及超现实主义画派等。

Say filmgoer says kongfu and commerce have what concern above all, I also can raise this question before China, live in China as me and work in Alibaba, and in Chinese deal, the company that I discover the company in the west and east is competing the respect is to have different, if want to see one next case not the motion picture that you want to see an old west only, it is bull-puncher commonly, next of vigorously attack an one fist, of course power is very full inside this, but without what skill but character.

首先说影迷说功夫和商业有什么关系，我在中国之前也会来提这个问题，随着我在中国生活和在阿里巴巴工作，和在中国做生意，我发现在西方的公司和东方的公司在竞争方面是有不同的，假如想看一下一个例子的话不你只要看一个老的西方的电影，一般都是牛仔，然后猛力的击出一拳，当然这里面力量很足，但是没有什么技巧可言。

Although it sets up objectification thought system, it makes a split world at the same time.

在这一思维方式的引导下，西方的东方学家在西方本土不断扩张着理性的自我，同时在非西方世界中不断寻找和塑造着非理性的他者。

The Lynn White debate, which begun when White called for a rethinking of Christianity or its replacement by a nonWestern religion, has proved an obstacle to dealing with the environmental crisis The defense of Christianity that followed inhibited Asian and comparative environmental ethics in the West and did not produce environmentally useful results Whenever the relationship of religion and the environment was raised, the discussion quickly shifted to the issue of Christian responsibility for the environmental crisis The problem with the debate is that in many important ways, the White thesis is correct: Christianity is indeed responsible to a significant degree in that Christianity desacralized nature and it supported policies politically in the Middle Ages that encouraged now harmful human population growth and promoted science and technology, much of which has proved to be environmentally problematic There was nevertheless a second tradition of which Saint Francis of Assisi was a part that was environmentally friendly and that could be useful in rethinking Christianity environmentally It is however unlikely that Christianity will prove useful in the development of an environmental ethic in nonWestern countries or that nonWestern religions will succeed in producing an environmental ethic in the West It is therefore important that religious scholars move beyond assigning blame for the environmental crisis and find ways for the major world religions to help develop environmental ethics as best they can within their own cultural spheres

林恩怀特争论始于怀特关于对基督教进行重新思考或者由非西方宗教取而代之的呼吁。林恩怀特争论已经被证明成为处理环境危机的一个障碍。由此而起的对基督教的辩护制约了亚洲和其他比较环境伦理学在西方的发展，没有产生对环境有益的结果。无论何时，当人们谈及宗教和环境的关系的时候，讨论都会迅速转向有关基督教对环境危机责任的讨论。这一争论的关键在于，怀特的论文在很多方面是对的：基督教的确在相当大的程度上造成了自然的世俗化，并且在中世纪，基督教在政治上对现在看来有害的人口增长的政策提供了支持，促进了科学和技术的发展，很多诸如此类的政策已经被证明对环境是有害的。但是，基督教还存在另一种对环境友好的传统，Assisi城的&圣芳济&运动就是其中一例，这种传统也许对于从环境角度重新认识基督教是有益的。但是，对于非西方国家环境伦理的发展，基督教将很难能够有所作为，非西方宗教也不大可能成功地在西方产生出某种环境伦理。因此，对于研究宗教的学者们而言，重要的是要走出谁应该为环境危机受到指责的争论，找到世界各主要宗教如何在其各自的文化范围内对发展环境伦理提供最佳帮助的方法。

Some of the best paintings in Japanese art can be found on sliding doors and folding screens. Famous artists, such as Hokusai or Hiroshige, made woodblock prints for the public. Distinctions between notions such as fine art and applied art, or high art and low art, do not exist. These distinctions appeared and became standards in Western art history. In Japan, with its different social and cultural background, these classifications were not made. Although the Japanese art system has been westernized over the past one hundred years, there still exists a cultural tradition that encourages artists and the audience to share artistic experiences outside art venues.

艺术跟相同领域的之於西方并不是那麼绝对，因为艺术本身的目的不同这是众所皆知，一些日本最好的图画可以在传统木门或是屏风上发现，有名的艺术家像是Hokusai 或是 Hiroshige他们在公开场合做版画，若要区别纯艺术和传统艺术，或高等和低等艺术的看法是不存在的，这些区分在西方艺术史上成为规范，而日本不同的社会文化背景这种区别根本不适用，虽然日本的艺术系统在近百年来已被西化，但是他们仍保有鼓励艺术家和观众在艺术馆外面分享艺术的文化传统。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。