文艺的

This part focuses on the important position of aestheticism in Yu DaFu's literature thought.

在第二节中的第一、二、三部分中分别论述文学本体论与唯美的关系，还包括无政府主义思想和文学批评思想以及文艺理想与唯美主义的关系；创作思想与唯美的关系；以及唯美思想在作品中的体现等，主要论述唯美主义在郁达夫文艺思想中的地位和作用。

The most noticeable feature of New Literature was federalization. Therefore Shi Zhe-cun and his fellow's productions were closely linked to the world literature trend.

"同人性"是《新文艺》的最大的特点，《新文艺》主要发表施蛰存和他的伙伴们的创作和译作，发表的作品同国内外的文学风向有着千丝万缕的联系。

This paper attempt to summarize the metamorphose phenomenon of literature and art and call it "metamorphose genre "and try to reveal its source and course, compare the difference of the world understanding that it shows in the culture of Chinese and Western, display its special artistic quality and the development in future.

本文试图从体裁角度归纳变形文艺现象为"变形体"这一特殊的文艺形式，并力图揭示它的源流，比较它在中西文化中表现出的不同的世界感受，展现其特殊的艺术特质及其在未来的发展与流变。

This paper tells us the influence be- tween his researches of folklore and his literature theories.

本文通过周作人的民间文学研究与他的文艺思想之间的联系来看民间文学对他的文艺思想产生的影响。

From 1976 to 1985,he stuck to Dialectical Materialism as a guideline,reflected on the literary and artistic characteristics of the "Art in its special way grasp the world "," Art has its own independent special targets " and other important proposition to do an in-depth exposition. He also made a brilliant insights about artistic typicalness; From 1985 to 1992, he gradually realized Epistemological Literary Theory couldn't explain all the literary phenomenon, so instead of Human Ontology of Literary Theory,on departure from the Human Ontology to interpret the literary phenomenon,str...essing that " Aesthetic is the life of one of the leading activities "," Art is essentially aesthetic ";Before and after 1992, he re-converted research perspective, explaining aesthetic and artistic on the basis of theValue of Philosophy, saying that the beauty is a form of value.

他从1976年到1985年，以辩证唯物主义认识论为指针，反思文学艺术的特性，对"艺术以其特殊的方式掌握世界"、"艺术有自己独立的特殊对象"等重要命题做了深入的阐发，并就艺术典型提出了精辟的见解；从1985年到1992年，他逐渐意识到认识论文艺学无法解释一切文艺现象，于是转而研究人类本体论文艺学，从人类本体论哲学出发去解释文艺现象，强调"审美是人的生命活动主要方式之一"，"艺术在本质上是审美的"；1992年前后，他再度转换研究视角，从价值论哲学出发去解释审美和艺术，认为美就是一种价值形态。

The author holds that it is an important research task of the contemporariness of Marxist theory of literature and art to study the inner mechanism of perceptual practical emotions from writers of literary theory,to explore the inner relations between reapperance and perceptual practical activities.

作者认为从感性实践主体的角度出发，研究文艺复现人的感性实践情感的内在机制，探讨这种复现与感性实践活动的内在联系是马克思主义文艺理论当代性的重要课题。

This article is divided to six parts: The introduction has partially cleaned up the clue of the Kuomintang's literary policy and the literature movement,as well the neglection and sophistication to this by partial history of literature,brought forward to taking the "Literary Pioneer" as a foundation stone to study, in order to clear off the the venation of literature development and return the liberature to original state historically and concretely .

本文共分六个部分：导言部分清理了国民党的文艺政策和文学运动所形成的线索以及部分文学史对此的忽视和改写，提出以《文艺先锋》为一个生发点，以便理清文学发展的脉络，具体地、历史地还原文学的原貌。

Estrangement" theory of Russian formalists not only inherits but also further develops "strange words...

当今的文艺理论研究应该客观审视二者的理论内涵和成就，公正地评价它们各自的理论价值和意义，使其继续为我们的文艺理论研究和文学创作实践提供切实有效的方法论指导。

With the surging wave of the revolution, left movements and the artistic thinking of our party have deeply influenced and changed the literary and artistic thinking of Ding Ling, her identity has gradually become a revolution participant, and even was a special political leader status from a free writer.

随着革命浪潮的涌动，左翼运动和我们党的文艺思想深深影响和改变着丁玲的文艺思想，她的身份也逐渐由一名自由主义作家变为革命事业的参与者，甚至是具有特殊政治地位的领导者。

Then a conclusion is drawn that Mao Zedong is a poet of the red flag because the red-flag image,with symbolic implications and aesthetic values,is a poetic reflection of his views towards revolution,reflecting his political sense,revolutionary belief,and battle lif.

本文运用马克思主义文艺观和中国传统文艺美学的批评方法，通过对毛泽东诗词中&红旗&意象的细致的文本解读，来剖析其成因和美学蕴涵，然后得出结论：因为&红旗&意象映照出毛泽东的政治意识、革命信念和战斗生涯，是他对革命生活和斗争的诗化的认识和反映，具备了象征内涵和审美价值，形成了象征美、色彩美、动态美和力量美的统一，所以，毛泽东堪称&红旗&诗人。

I am accused of being overreligious," she said in her quiet, frank manner,"but that does not prevent me thinking the children very cruel who obstinately commit such suicide.""

客人们在卡罗利娜·埃凯家里，举止就文雅一些，因为卡罗利娜的母亲治家很严厉。

Designed by French fashion house Herm è s, this elegant uniform was manufactured in our home, Hong Kong, and was the first without a hat.

由著名品牌 Herm è s 设计，这件高贵的制服是香港本土制造，是我们第一套不配帽子的制服。