思考的

Civilization in this dichotomy means the universal, autonomous, prosperous, individual, rationally speculative, self-doubting, and ironic; culture means the customary, collective, passionate, spontaneous, unreflective, unironic, and a-rational.

在这两元对立中，文明意味着普遍的、自主的、繁荣的、个人的、理性预测的、自我怀疑的、反讽的；文化意味着习惯的、集体的、激情的、自发的、不加思考的、不会讽刺的、非理性的。

Philosophers of the tradition, to the degree that they had thought about art at all, thought chiefly about the art of their own time: Plato, about the illusionistic sculptures of his contemporaries; Kant, about the tasteful objects of the Enlightenment; Nietzsche, about Wagnerian opera; the Wittgensteinians, about the extraordinary proliferation of styles in the twentieth century, when a whole period of art history appeared to last about six months.

传统的哲学家们，就他们对艺术所做的思考的范围而言，想的主要是他们自己时代的艺术：柏拉图，想的是他的同代人搞的那些幻象性质的雕像；康德，想的是启蒙时代的那些颇有品味的东西；尼采，想的是瓦格纳的歌剧；魏特根斯坦，想的是二十世纪各种风格的大量繁殖（其时整个一个艺术史阶段似乎只延续六个月）。

When we communicate with each other using something from Chinese , the writer thinks that we are using surfacely the characteristics of its tools, in fact we are perfecting its humanity in connotation here. It contains mind ,attitude, value sense, moral accomplishment and other poly consciousness. Well, how to transmit these truly, honestly, abundantly, and enlightenedly to make it come into the soul of humans, all of these are the things that are worth thinking by our teachers whose duty is to transmit the cultures and reasons, teach knowledge and solve the puzzles of the students.

当我们用语文中的某些东西进行交流和沟通的时候，笔者认为表面运用的是语文的工具性，实际在内涵上我们正在完善它的人文性，这里面包括思想情态、价值观念、品德修养等多元化的精神意识领域的东西，那么如何能够真实的、诚挚的、丰富的、启发的传递这些，使之更广阔的深入到人类的心灵之中，这应该是值得我们&传道、受业、解惑&的教师所要深刻思考的事情。

Firstly, successful curriculum reform should be made on the basis of a valid curriculum theory. Thus it requires that we discard the obsolete ideas and then improve the advancement of curriculum reform; Secondly, during the present of curriculum reform, we must clarify the relationship between inhering and recommend, enhancing and reform, ideal and reality, and guarantee the entirety and continuity of the elementary educational curriculum reform; Thirdly, as a systems engineering, curriculum reform need a rational system of organization to assure it, meanwhile, the corresponding set reform should also be taken; In these years, curriculum integration has become an important and powerful development trend. It will end not only the state of the disintegration and opposition, but also end a kind of traditional curriculum theory and ideological patterns that people has held for a long time.

近20年来的基础教育课程改革的发展历程，既为当前的课程改革提供了许多的经验与指南、问题与教训，也留下了许多研究与思考的问题：进行课程改革首先需要确保课程理念的正确，必须随时改革陈旧过时观念，这就要求课程改革不仅有成熟的理论基础，而且还要有科学的实验支持，从而提高课程改革的理论性、前瞻性和科学性，走一条理论创新与实践探索相互促进的道路；课程改革在其渐进发展过程中需要明确继承与借鉴、发扬与变革、理想与现实等的关系，把握改革的整体性和持续性；课程改革作为一项繁重的系统工程，需要以健全合理的体制做保证，同时相应的配套改革措施应同步进行；课程整合作为一种重要的发展趋势逐渐为人们所关注，它要结束的不仅是一种分割、分离、彼此对立的状态，更是要结束人们长期以来的一种旧有课程理念和思维方式。

The author found that what implied behind these "discussion", which postured as "knowledge", in fact, is a cast of power. In order to expose this social reality, and liberate the oppressed aborigines from the current situation, I decided to apply the teaching methods in Freire's liberation pedagogy－"problem-posing " to design curriculum, and develop " Critical identity Curriculum ", hoping that through the practice of this curriculum, on one hand to enhance Aboriginal students' ethnic, culture and self identity, and on the other hand to nurture their critical thinking ability to resist the oppression of the " discourse " from the mainstream of society.Therefore, the main purpose of the study is as follows

发现以「知识」的姿态隐含在这些「论述」背后的，事实上是一种权力的施展，而为了揭露这一社会真实，解放原住民於社会受压迫的现况之中，笔者决定挪用Freire解放教育学中的教学方法－「提问式教学」（problem-posing），进行课程设计，发展「批判性认同课程」，希望藉由课程的实施，一方面提升原住民学生对自身族群文化及自我的认同感，一方面培养原住民学生批判思考的能力，以抵抗主流社会「论述」的压迫。

In reappraising the priorities of our thinking, we have blocked from our consciousness the fact that the essence of architecture ' s intrinsic uniqueness is its Form : it is the relative and pertinent use of form, its significance and appropriateness to our public life within the context of a political ideal that should be our primary concern.

我们应当重新评估我们思考的重点，我们的意识中已经无视的这样一个事实——建筑内在的、独特的核心是它的形式：它对于我们公共生活的重要性和适当性，应当作为我们首要的关注点（这种公共生活是相对应于一个政治理想的）。

Liu Qingyuan has marched forward in his own way from the start. In such a snobbish and superficial world, the fact that Liu Qingyuan did not follow a certain "successful" or "popular" mode, but chose the local Chinese culture in his black and white woodcut world, and to continuously make images that stimulates and inspires, is truly a remarkable individuality, as well as a quality a true intellect shall have.--Ma Yongjian, Art Historian

刘庆元始终坚持以自己的方式在前行——在今天这样一个功利和浮躁的社会，刘庆元能够不去追随某种&业已成功&或者&流行&的模式，而以一种知识分子的心态去在他的黑白木刻世界中关注中国本土的文化情境，不断创造那些能够刺激我们心灵，引发我们思考的形象，这不能不说是一种个性的体现，也是一种艺术家所应该具有的知识分子情感的体现。

This is an issue worth considering, because everyday life today is like a supermarket, not a "church". Maybe in the higher spiritual realms it's a "church", something that allows those who enter to gain an elevation and a transcendence; there is this thing that's like religion yet extremely normalized and mortalized. In next year's exhibition, I want to take this intensity, the potency of this technique and the strength of this thinking and decode it.

这个问题是值得思考的，因为在今天的日常生活像一个超市，不是一个&教堂&，可能在高端的精神的领域里面，应该还是一个&教堂&，是让人进去能够得到提升和超越，有这种似宗教，非常日常化和世俗化的东西，明年我的展览，想把这里面的强度，技术的含金量，思想的浓度去进行解码。

In natural landscape, she found the outlet that segues into her imagination. With the deepening of her artistic thinking, the deep meaning of the symbols becomes clearer. The pillars in her painting divide and connect the space between the sky and the earth in equal measure. They are not so much the manifestation of the artist's concern for Eastern and Western architecture as her interpretation of Eastern and Western cultural totems.

在自然的风景里，她找到了与自己的想象力交接的出口，而随着这种思考的深入，原有寓意很深的符号逐渐明显起来：那些不断分割同时又连接了天地空间的柱子，与其说是艺术家对东西方建筑的关注，不如说是她对东西方文化图腾的衍释。

The decision was a pondered one, because the goal of this artistic movement, which developed in Europe between the late 19th and early 20th centuries, was to recover in a contemporary key the aesthetics, forms, noble materials, building techniques and artisan skills of Graeco-Roman tradition, the cradle of every subsequent artistic manifestation of Western culture: from literature to the theatre, music and architecture.

该决定是思考的，因为这个艺术运动，在欧洲发达国家之间的19世纪末和20世纪初的目标，是要收回的关键在当代美学，形式，高贵的材料，建筑技术和希腊工匠技能罗马的传统，以后每西方文化艺术的摇篮，从文学的表现：在戏剧，音乐和建筑。

She gently rebuff ed him, but agreed that they could be friends

她婉言拒绝了，但同意作为朋友相处。

If in the penal farm, you were sure to be criticized.

要是在劳改农场，你等着挨绳子吧！