在西方

Farther, this chapter tries to hold a dialogue between the native and the West on a new level of Sino-western mutual understanding, thus, the chapter, with the basic idea of"comparison equals dialogue", launches a discussion focusing on four features: the widely-ranged introduction from anti-alienation spirit, modern humanitarianism and individualism in Western modern art to the anti-Confucianism in Chinese cultural tradition; the seek for the essence of Western modern abstractionist art in Chinese traditional intellectual art atmosphere; the decoding of Western modern non-rationalism based on native cultural tradition; and the discussion on relations between"The Harmony Between Heaven and Man"and Western postmodernism.

于是本章基于"比较即对话"的观念，围绕四个问题展开了讨论：从西方现代艺术的反异化精神、现代人道主义、个人主义说到中国的"反儒文化"传统；在中国传统文人艺术境界中寻找西方现代抽象艺术的真谛；对西方现代非理性主义进行基于本土文化传统的解读；探讨天人合一精神与西方后现代主义的联系。

Westerner emphasize ethics value with ontology, epistemology relative meaning, it's the congenital defect of" value question" when western traditional philosophy thinking; Though among China traditional philosophies, originated places to embody, but, going with enervation trend of traditional culture and the impacts of western culture, especially, affected by Russian textbook of Marxism, we do not only realize the value natural instinct of China"s traditional philosophy as consciously, and philosophy is studied and comes from the west to think" value question" instead, even in order to coming and study people"s" value problem" western traditional the thinking frames. This is what cause contemporary people and historical origin of the double predicament of philosophy, also is the realism meaning of the animadvert on the present philosophy view.

西方人在与本体论、认识论相对的意义上强调伦理价值，这是西方传统哲学思考"价值问题"的先天性缺陷；虽然在中国传统哲学中，起始处就是体现为以"内求诸己"的方式把握人"生命之道"的价值性的思想，但由于近代以来伴随传统文化的衰弱趋势和西方文化的冲击，使我们一味效仿西方哲学的范式去研究哲学，尤其是受前苏联马克思主义教科书体系的影响，我们非但没有自觉意识到中国传统哲学的"价值问题"指向，反而认为对"价值问题"的哲学研究源于西方，甚至在被马克思终结了的西方传统形而上学的思维框架中来研究人的"价值问题"，这是造成当代人与哲学双重生存困境的历史根源，亦是当代哲学观批判的现实意义。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的"表现"观念的历史考察着手，归纳出西方现代"表现"观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在"表现"观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的"否定性物象"来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

The writer however never explains who constructed this problem and the perpetrators behind it...western ideas, western lifestyles, western eating habits, western industrial models, western agricultural models, western commerce model ...western culture, encroaching like cancer cells on China. It is a pity that even the West has already swallowed its own bitter fruit, and also knew what the problems were, yet, many have come to China with a drive of profit, practice cheatingly those business conducts which are even banned in their own countries. The situation is just like the illegal opium trade about 200 years ago. It has caused China a new poisonous addition.

但作者并没有说明制造这个问题的幕后黑手…西方的思维、西方的生活方式、西方的饮食习惯、西方的工业模式、西方的农业模式、西方的商业模式…西方文化如癌细胞似的在侵害著中国；可恨的是西方已偿到苦果，亦知问题所在，很多甚至在其国家被禁的行为，但在利益推使下都跑来中国，或哄或骗的在中国发展起来，有如二百年前的鸦片一样，令中国中毒上瘾。

Western scientists have for the most part been culture blind to the ways in which their science and they themselves have been occidentalized, and doubly blind to how the occidentalisms infecting science have been shaped by the West's role in world political economy, and the political economy of the West 'itself'.

西方的科学家已经在绝大部分程度上对科学以及他们自己西方化的方式中的文化视而不见，更是双重地对受到西方论感染的科学是如何被西方在世界政治经济体系中的角色，以及西方自身的政治经济角色所塑造，视而不见。

The Disseminating of western aesthetical trend in China originated from the spreading of culture by the priests; developed by Chinese intellectuals' initiative translation of western psychology, educational psychology and philosophy; thrived by Chinese intellectuals' great translation of the outstanding aesthetes' ideal and wrote aesthetical books by themselves.

西方美学思想在近现代中国的译介始于西方传教士的向中国传播西方文化的活动，发展于中国知识者对西方心理学、教育学、哲学思想的主动译介，兴盛于中国知识界大量而系统地译介著名西方美学家的美学思想，以及中国美学家写出的一系列自成理论体系的美学论著。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的&表现&观念的历史考察着手，归纳出西方现代&表现&观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在&表现&观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的&否定性物象&来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

From December 1937 events such as the Japanese attack on the USS Panay and the Nanking Massacre swung public opinion in the West sharply against Japan and increased their fear of Japanese expansion, which prompted the United States, the United Kingdom , and France to provide loan assistance for war supply contracts to Republic of China .

鉴于日军在菲律宾班乃岛攻击美军军舰的行为以及日军在南京大屠杀中的暴行，日本给西方公众的印象已经改变-西方公众转而反对日本，同时日军的上述暴行也使西方各国担心日本会加强其军事扩张，损害西方各国的利益，这种情况下，美国，英国和法国相继自1937年12月起开始给中华民国政府提供军用物资合同及贷款，支援中国的抗日战争。

K, Rogoff 合编: Handbook of International Economics, Vol1, North Holland,2005;PaulR1Krugman 和 Maurice Obstfeld 合著:International Economics: The ory

如前文所述，在西方，不同专业的学生学习到的国际金融学内容并不完全一致，因此不同的国际金融教材内容存在较大差别，国外比较有代表性的国际金融教材主要来之英美，主要代表作有 Obstfeld， M。

She achieved the integration between art and horticulture with the theory on color scheme of planting. By the cooperation with Lutyens, the style of natural planting in the regular layout was founded by her, which has had a far-ranging influence in western countries.

杰基尔实现了园艺栽培的艺术化，与建筑师路特恩斯共同确立的规则式布局自然式种植的花园设计模式在西方有着广泛的影响。

Singer Leona Lewis and former Led Zeppelin guitarist Jimmy Page emerged as the bus transformed into a grass-covered carnival float, and the pair combined for a rendition of "Whole Lotta Love".

歌手leona刘易斯和前率领的飞艇的吉他手吉米页出现巴士转化为基层所涵盖的嘉年华花车，和一双合并为一移交&整个lotta爱&。

This is Kate, and that's Erin.

这是凯特，那个是爱朗。