在西方

Painting which is the mainstream of the western art is extremely representational in the aspect of the space concept. But relieves combine the paintings'complanation with sculptures'extensity .so we decide to research the process of the evolvement and the interaction between paintings and sculptures. We expect to discuss the space and art expression in the western art and relieve ,so I can have a further comprehension about the space of optical art. The comprehension can not only help us understand the traditional western paintings and relieves better, but also make us comprehend the space concept of modern art better, to set the artistic creations of contemporary paintings and relieves into action.

油画，作为西方绘画的主流形式，在空间形态的表现上极富代表性，而浮雕兼具绘画的平面性与雕塑的实体空间性，因此，我选择研究油画与浮雕在空间上的演变过程及其相互影响，以期可以从一个侧面来探讨西方绘画与浮雕中的空间观和艺术形态表现，从而对视觉艺术的"空间"有更深一个层次的了解，这不仅有利于我们理解传统的西方油画和浮雕，也能使我们更好地理解现代艺术的空间观念，进而更好的推动当代的油画和浮雕创作。

Among these halls, the "Buddha Hall" demonstrates the artist's attempt most directly. In the Orient, artworks regarding religious themes usually will be presented with perfection and heavenliness, but such characteristics are not seen in Liu Dahong's work at all. Instead, the artist has calculatedly created chaos by placing parallel elements in his painting. Images of the frequently waged crusades in the history of the West, the horrifying witchcraft and the rigid statues of westerners have changed the Tibetan Buddha hall into a theater of the absurd. In the center an innocent girl struggling to get away from the stake is the most dramatic spectacle, and the giant, puppet-like Buddha along the people standing or sitting around constitute the scene of trial. In the backdrop, the landscapes and atrocities of wars often seen in western religious paintings are a keen contradiction to the people piously praying in the front. Their belief looks so hopeless.

佛堂是最具代表性的一件，在东方，宗教或描述宗教的艺术作品多倾向完美性和超世性的描写，但这些描写，在刘大鸿的佛堂中被完全破除，取代的是（刘大鸿此处以「置入」、「并列」为取代手法，达到了文本的交叉混乱，实为妙笔）西方宗教中频繁出现的宗教战争、巫术等负面形象，这些雕塑般的西方人物将西藏佛堂变化成荒诞舞台，画面中央一纯洁少女转身挣脱火刑的动作构成最强烈的力度焦点，众角色环状排列并点出审判的基本架构，且和背后如同宠物般拉扯的大佛形成呼应；佛堂后景重迭起西方宗教画内常见的风景描绘，黄土石间宗教战火连连，前景藏人和民众的诚心歌颂反而显出信仰的愚昧。

When concerned narration time, they predigested modern narration time of western novel to hyperbaton narration, and then focused on " the abrupt beginning", and never grasped the flexibility that western novel narration time can cut time according to expression requirements; when concerned the narration angle,"I" in the works of new-novel critics is only the thread to link the stories, and the works never cares about the idea and sensation of "I"; when concerned the narration framework, for the obstinacy of the tradition of Chinese novel preference in plot, it is the most difficult to take in.

在小说的叙事时间上，新小说家把西方小说的现代叙事时间简化成了倒装叙事，又把倒装叙事集中在"开局突兀"上，根本没有领会西方近代小说叙事时间根据表达需要进行剪辑的灵活性；在叙事角度上，"新小说"家作品中的"我"只是串连故事的线索，作品根本没有关注我心里的思想和情感；在叙事结构上，因为中国小说重情节传统的顽固性，对西方小说叙事结构的接受也最难。

On the other hand, they usually use faulty analogy to study the logical thoughts in ancient China, and overlook the similarities and differences between the logical thoughts in ancient China and western logic. This means that the Chinese scholars, at the same time, have a monist conception of logic.

比附法在中国古代逻辑史领域曾有过巨大的历史贡献，但一味地坚持这种研究方法，或只注意到它的优点而忽视它的缺点，则无疑是把西方的逻辑学视为唯一的逻辑学，这是一元逻辑观；即以西方的逻辑学为参照物，又把西方的逻辑学视为一个平等的他者，也就是在研究中即注意中西逻辑学之相同的一面，又注意中西逻辑学之不同的一面，这是一种多元逻辑观。

Under the postmodernism background, the author tries to survey the development of the western philosophy by connecting the development of the western traditional reasonable philosophy in itself with philosophical crises from self-reasonable angle, therefore, the author chooses some typical and marked philosophers theories to discuss in the course of traditional reasonable philosophy, as follows the author collects the case of Socrates Descartes Kant and Hussel, meanwhile, adopts selfreason as the clue of their theories, concerns about their .philosophical ways contexts philosophical problems and philosophical trouble to reconception.

本文是在后现代思潮高涨的背景下，试图从把西方传统理性主义哲学本身的发展和西方哲学危机结合起来重新审视西方哲学的发展，通过选取在对传统理性主义哲学发展路途上具有里程碑作用的几个哲学家思想的探讨，因此我选取了苏格拉底、笛卡尔、康德、胡塞尔四位思想家的理性自我哲学，对他们的哲学方式、方法内容，由其带来的哲学问题和所面临的困境的反思，尝试着来看传统理性主义哲学到底走向何方？

The development of Chinese architecture of modern times reached its climax from 1900 to 1937.During this period, especially the earlier stage, the main trend of architectural development is western revivalism and eclecticism. The eclecticism of western architectural history happened in earlier nineteenth century till the beginning of twentieth century. But the impact of west architecture over Chinese architecture sometimes is delayed, this is common culture spreads time spacing.

中国近代建筑的发展，在1900年—1937年是一个高潮，在此期间特别是中前期，建筑发展的主流趋势是西方复古主义和折衷主义，西方建筑史上的折衷主义发生在十九世纪上半叶至二十世纪初，但是西方建筑对中国建筑的影响往往是滞后的，这是常见的文化传播时间差。

The famous hypothesis of 'economic being' of western economics is based on contradictions between egoism and altruism, between individualism and entirety; contemporary western economic ethical thought is also represented by conflicts among utilitarianism, non-utilitarianism and the like, the conflict of unrestraint and state interf...

西方经济学著名的经济人假设，其立论基础存在着"利己"与"利他"、"个人主义"和"整体主义"的矛盾；西方经济伦理思想在当代还表现为功利主义与非功利主义的诸正义形式伦理的矛盾、自由放任与国家干预的矛盾、经济公正与政治公正的矛盾，正是在这些矛盾的展开中体现了当代西方经济伦理思想的发展与变化。

Obviously, it seems that his intention is to make another kind of voice out of the deep water, which makes it fight against traditional phalloccntrism; while also entangle on the male dcsire peering at female bodies in his narrative words, using the supposing visual center in the film picture to disguise the ubiquitous male desire peering at female bodies, all which embody the desire to close the western cultural center regardless of the picture handling and cameral lens cutting. Finally, he spends every strain to alleviate visual pressure and catering to the visual feeling of the western audience using narrative tactics, while the real intention to fight for language right with traditional phallocentrism. So it"s safe to say that this is a right fight between traditional phallocentrism and marginal counterpart. Just as the sacrifice of women in Zhang"s films, the marginal women again betrayed in Lous, and women again become the punishing and desire subject and swapping subject between men.

似乎让另外一种声音浮出水面是他的叙事意图，使它能够对抗传统中心话语权威；然而，在他影片的叙事话语中，仍然纠缠于固执的男性对于女性的窥视，利用设定影片画面中的表层观看&中心&，企图掩饰他影片中无处不在的对于女性的窥视欲，无论是在影片画面处理、影片镜头的剪辑上都显示出对西方强势文化中心的靠近，利用其中叙事策略来尽量减轻或者迎合西方观众的视觉接受，而其真正的叙事权威就是利用&边缘&来争夺西方观众的肯定，来与传统男性中心权威话语争夺话语权，这是一场传统男性中心话语权威与男性边缘群体争夺话语权的斗争，就如张艺谋的影片中以牺牲女性为代价，娄的影片中同样牺牲了边缘女性群体，女性再一次成为窥视、惩罚的对象，成为男性交换的对象。

It is the important tradition of modern pedagogy in China to pursue the Western new academic trends in the self -negative mentality and formulistic approach for the rapid application in China. Such blind practice has caused the dual separation of Chinese pedagogy in both Chinese culture and Western culture.

以&用&为目的、向西方倾斜而自我否定的学术心态、公式化的创作方式和形式化地追逐西方学术新潮以便迅速在中国加以运用等的结合，是中国现代教育学的重要传统，它导致了中国教育学在文化上的双重隔绝：既隔绝于中国文化历史传统，也隔绝于西方文化历史传统。

From west to east, Chtstmas to Spring Festival, only a month's period, kids get gifts in the west on Christmas, Children get pocket money during Spring Festival in the east. The common point is that people want to be together with their kins in both festivals.

从西方到东方，从圣诞到春节，时间仅仅隔了一个月，西方的孩子在圣诞得到礼物，而东方的孩子在春节得到压岁钱，相同的是：无论东方西方的节日，人们都希望和亲人在一起。

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。