文艺的

The thinkers of the Lunyu School fully expressed their persistence of individualism and their reconsideration in literary modernity Yet the persistence and escape existed side by side, this mode of behavior and thinking indicated that the self-subject of the modern scholars was illusive and was hard to carry on when the modern scholars were covered by the powerful tradition and deeply controlled by modernity's consciousness of time Chapter Two Reconsidering on the character of modernity with leisure ampleness, resisting the human alienation caused by modern materialism and mechanism with humor, reaffirming the space of self-expression, which formed the humor, the leisure, the modern, and the aesthetic spirit implication of Lunyu School But the modern scholar's powerful inclining to the tradition made Lunyu School's aestheticism draw close to live in seclusion And its aesthetic modernity is also discounted for that reason Chapter Three It is the emotion and the leisure manner owning by the middle aged people that help to bring about Lunyu School's essay's adjusting in main key and moving massively in theme Lunyu School changed the way for "gaining the experience of life"in the twenties'prose It went from highly enthusiastic writings to reserved life-concerning and recite with appreciation in everyday life

第一章 三十年代左翼文学以其"新"、"进步"和"时代性"确立了自己的合理性地位，而时代思潮的转换、文艺与政治的日益密切使五四自由知识分子所坚持的个人主义成了"落伍""颓废"的表征。论语派自由思想者充分表达了对个人主义的执着、对文学现代性的反思，但坚持与逃逸并存的行为与思维模式表明现代士子在忧生伤世的强大传统笼罩下和一往无前的现代性时间意识的深刻控制下，个人主体的难以为继和虚幻性。第二章以闲适的余裕对奔竞躁进、汲汲功利、一往无前的现代性特征进行反思，以幽默对抗现代物质主义机械主义对人灵智的异化，重申自我表现的空间，构成论语派幽默闲适的现代性审美精神内涵。但现代文人对于传统的强大趋同力，则使论语派审美主义向隐逸文化靠拢，其审美现代性由此大打折扣。第三章中年情感与闲适气度直接促成论语派散文基调上的调整及主题的大幅横移，在趣味、游戏、幽默、闲适中改变了二十年代散文"问世"的径路，从意兴湍飞的激扬文字走向了沉潜适世的生命关怀与日常人生的吟味与咀嚼。

Regular direct borrowing terms are: the Fates god of destiny, the lifeline from the textile Clotho, the fate of Lachesis arrangements and cut the lifeline of the goddess Atropos three components; the Erinyes goddess of revenge, Tisiphone, Megaera and Aleeto Goddess Group 3 % of the Muses literary goddess, for the history of Clio, in charge of astronomy Urania, in charge of the tragedy Melpomene, the competent comedy Thalia, in charge of dance Terpsichore, the competent epic Calliope, Love Poems for the Erato, the gods in charge of the hymns, as well as Polyhymnia Lyrics for the nine goddess of Euterpe

经常直接借用的词语主要有：the Fates命运之神，由纺织生命线的Clotho、安排命运的Lachesis和剪断生命线的Atropos三位女神组成；the Erinyes复仇女神，由Tisiphone、Megaera和Aleeto三位女神组成；the Muses文艺女神，有主管历史的Clio、主管天文的Urania、主管悲剧的Melpomene、主管喜剧的Thalia、主管舞蹈的Terpsichore、主管史诗的Calliope、主管爱情诗的Erato、主管神灵赞美诗的Polyhymnia 以及主管抒情诗的Euterpe九位女神组成

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。

Wearing the graduation gown, in an instant, do we realize that the stentorian slogans at military training on grade 10 still reverberate around; the pleasure and harvest brought by ally tour are being treasured deeply in our hearts; the enthusiasm and perseverance we had represented during the series activities of supporting Beijing Olympic Bidding are thrilling us as ever; the delight and success of creating poem anthology are haunting in our minds as before; the sweet and bitter of acting a role in the play for the first time still hovering in our brains; the attachments derived from the Canada National Day are accompanying us till present; the fresh experience stemmed from participating in the volunteers' activities of the Special Olympics had inscribed in our memory; the melodies of the 4th, the 5th, and the 6th anniversary performances are still echoing in our ears…the transitory 3 years of high school had left us so much remarkable reminiscences, so many impressive experiences that worth cherishing.

穿上毕业服，才发现高一军训时嘹亮的口号似乎还回荡在耳边；胡同游带来的那份愉悦与收获还徜徉在心底；申奥助威活动的那份热情与执著仍旧激荡着我们的全身；高二创作诗歌集带来的那份喜悦感与成就感依然充斥着我们的脑海；第一次演话剧的酸甜苦辣依旧那么清晰的回映在脑畔；加拿大国庆日的欣喜之情仍旧跟随着我们；高三特奥会志愿者活动的特殊经历始终铭刻在心头；四周年、五周年与六周年的校庆文艺演出的歌声仿佛还在余音缭绕……高中短短的三年，留给我们太多美好的记忆，太多难忘的经历。

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。

Moreover, there also are some theories that some scholars research from the literary history angle, but are in whole range of Seventeen-Year Literature.

另外，从文学史角度研究的一些论断也有，但是在中国&十七年文学&整体研究范围内，因为缺乏具体的文本细读，做出的仅仅是笼统的关于作家在艺术与政治之间左右摇摆的结论，并且往往把作家摇摆的原因归于文艺政策与文学规范的约束，而没有在具体的作品中揭示与思考：作家个体性的生命体验与政治追求之间的矛盾是如何体现的以及这种矛盾在什么程度上获得了解决；解决方式蕴含着作家对此问题怎样的理解与认识，这些理解与认识是否构成了中国&十七年非主流文学&对主流话语的真正突围。

On the other hand, the more important thing is because the urban housing is a kind of heterogeneity products.

另一方面，更重要的是由于城市住房是一种异质性产品。

Climate histogram is the fall that collects place measure calm value, cent serves as cross axle for a few equal interval, the area that the frequency that the value appears according to place is accumulated and becomes will be determined inside each interval, discharge the graph that rise with post, also be called histogram.

气候直方图是将所收集的降水量测定值，分为几个相等的区间作为横轴，并将各区间内所测定值依所出现的次数累积而成的面积，用柱子排起来的图形，也叫做柱状图。