形式主义的

In terms of the language form and the narrative adventure aimed at literature itself, vanguard novels not only recompose the definition of modern novels and literature itself but exalt the immanent essence of belles-lettres and the elevation of art, therefore bringing about the genuinely modern transformation of Chinese modern literature from sheer production to criticism.

但长期以来，先锋小说一直佩戴批评家授予的形式主义徽章，"叙事革命"所产生的广泛深远的影响并没有得到应有的阐释，人们大都从纯文学审美自律的视域出发，对先锋小说的形式探索作单向度的解读，形式实验与社会、历史和意识形态之间复杂互动的关联常常被遮蔽悬置。

American Pop was born in the 1960s, with the emergence of international masters like Andy Warhol, James Rosenquist and Roy Lichtenstein. Andy Warhol has had a tremendous influence on the development of Chinese art. Performance art emerged in the 1970s as well as Nam June Paik's video art and Christo and Jeanne-Claude's installation art. Sigmar Polke and Gerhard Richter were among the leaders of the Post Modern movement, which also flourished in the 1970s. Among them, Richter has had the most significant impact on Chinese art. New Expressionism emerged in the United States during the 1980s with artists such as Keith Haring, installation artist Ann Hamilton, and Cindy Sherman whose work is somewhat derived from New Expressionism.

进入50年代又出现了格林伯格画派、形式主义绘画，以及具象复活等等。50年代后期出现了新现实主义画派，以及为心灵而创作的博伊斯。60年代美国波普艺术诞生，出现了安迪·沃霍、罗森奎斯特、利希滕斯坦这样的世界级大师人物，其中安迪·沃霍对中国的影响最大。70年代出现身体艺术、行为艺术、白南准的电子艺术、克里斯托和珍妮—克劳德的包裹艺术，以及以波尔克、里希特、巴尔德萨利的后现代主义，其中里希特在中国影响巨大。80年代出现了美国新表现主义如基斯·哈林，装置如汉密尔顿，以及辛迪·舍曼的挪用。

We can"t allowcommunity with its own interest to came into shape.Communist Party"s keeping close links with masses has the character of continuity: communality of theory basis, communality of unders

中共三代领导集体总结出密切联系群众的实践经验：保持党同人民群众的血肉联系是加强和改进党的作风建设的核心问题；克服官僚主义、形式主义，是密切联系群众的主要途径；进行反腐败斗争，赢得人民群众的拥护和支持，是密切联系群众的长期任务；实现群众路线的制度化，是密切联系群众的基本保证。

Chapter Ⅵ is on both the social significance of Empson's reading of Shakespeare play, and the deeper significance of humanism, which is beyond the social criticism. In 1930s and 1940s, New Critics strengthened the analysis of text itself, were inclined to discuss the balance and synthesis among the conflicts in poems. This was not just formalism, it also reflected people's speculation of disorder in society and their efforts to rebuild the value system during the worldwide economic crisis in 1930s.

第六章讨论了燕卜荪对于莎剧语义解读的社会意义，以及一种超越了社会批判的更为宽广的人文意义。30、40年代新批评家们强调文本分析，并倾向于讨论诗歌中对立成分的平衡统一，并不纯粹是一种形式主义，它反映了1930年那场世界经济危机中人们对混乱无序的社会状况的思考和重建价值体系的努力。

As for Chinese language, the application of foreign linguistic theories is simply a disaster, for western linguistic theories are a set of complicated and formula system, while Chinese language is a non-formula character system which holds its own distinct rule that the meaning can be shown through the form.

由于语言学理论是建立在表音文字的基础上的一整套复杂的形式主义规则体系，而中文则是一种非形态的、以形表意的文字体系，有着自己独特的以形表意的简洁规则，这种外来语言学理论的应用，对于中文而言，简直就是灾难。

To perfect the important legal system , the article studied the untitled disposition and relevant propositions and legislations by comparative method and historic method, based on that the writer propose a suitable optimize contrive combined with the creditor's right Pharisaism and the Civil code, Contract law and Property right suggestion draft, besides that considered the autonomic matters of relevant systems, proposed the route on how to perfect the untitled disposition system in China law.

为完善这项重要的法律制度，本文运用比较和历史两种研究方法对无权处分及相关的理论主张和立法例作了认真的研判，并在此基础上笔者根据债权形式主义基础理论，结合《民法通则》、《合同法》和《物权法草案建议稿》的基本内容和立法倾向作了适当的优化设计，并考量相关制度之间自洽性问题后，提出了我国无权处分制度完善之路径。

It is stressed in this paper that the theoretical combination of formalistic criticism and social and historical criticism is also a combination of analysis of texts' form and their cultural contexts.

本文认为，洛特曼一直在探寻一种能够把形式主义批评与社会历史批评结合起来的理论途径，也就是把空间的静态分析与历史的动态分析融合起来，把本文的形式研究与文化的语境研究联系起来。

At first glance, notwithstanding the figurative elements they contain, these paintings radiate mainly a "void", which Western beholders immediately assimilate with the concept of monochrome paintings; a sterile interpretational context when taking into account that Qiu's works though representative of a relevant position in contemporary art position themselves beyond the self-reflective, formalistic concepts of modernism.

凝视这些摹于对象的画作，感受其散发的&空&，让西方观众不由自主地联想到&单色绘画&。但这种阐释语境不会太有延伸性，因为邱世华的画尽管也代表了一种当代艺术的重要立场，却毕竟与形式主义自我反思的现代主义艺术观念更为接近。

This essay, based on the key concept of new historicism, explores how the poet perfectly entwines the personal and the political in his poems, and realizes his dream of "self fashioning", and at the mean time fulfills his ambition of writing history with his poetry.

但是，纵观洛威尔的一生，我们不难发现，在不同的时期，他的诗歌风格迥异，以至于人们很难给他的诗歌归类。从早期受形式主义影响的《威利勋爵的城堡

In another words, Xiang Guohua's works contain at least two concepts: one is the formalists' tradition derived from the pedigree of modernism. However, his exploration of form is not the same as the originality and the elitism of modernism; quite on the contrary, his creation of form is carried out in a playful manner.

换句话说，向国华作品中至少包含了两种观念，一种是针对现代主义谱系发展而来的形式主义传统，但是，向国华对形式的探索并不同于现代主义的原创性、精英性原则，恰恰相反，他对形式的创造是在一种近似于游戏的态度下展开的。

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。