时代

Television the most pervasive and persuasive of modern technolog IE s, marked by r AP id change and growth, is moving into a new era, an era of extraordinary sophisti Ca tion and versatility, which promises to resh AP e our lives and our world.

电视，这项从迅速变化和成长为标志的最普及和最有影响力的现代技术，正在步入一个新时代，一个极为成熟和多样化的时代，这将重塑我们的生活和世界。

As for the same history facts, we should restudy them according to the temporal aspect. What's more, we must also infiltrate new temporal spirit and merit tropism into the new history textbook.

而且，对于相同的历史事实要尽量从时代的角度来解读，要渗透新的时代精神和价值取向。

SeeCoo Culture Organization is a mine of information about seeing. We are excavators as to immense image world, disseminators as to pioneer vision nowadays, practitioners as to operating professional books base on professional eyes, executors as to editing wonderful books for readers, subverters as to rubbishy visions in flippancy days, explorers as to cultural spirit of books, idealists as to demonstrating the charm of books when few people maintains reading.Now is a time full of Multiple values, so we are often perplexed by confusion and disorder of the aesthetic world.

视库文化机构是读图时代的"看"的知识宝库，是浩瀚图像世界的发掘者，是当今新锐视觉的传播者，是用专业眼光做专业书籍的实践者，是为了读者需求做好书的执行者，是浮躁年代垃圾视觉的颠覆者，是寻找图书文化精神的探索者，是书籍旁落的时代仍执著于展现书籍魅力的理想者……在赞叹价值多元的同时，往往也会困惑于审美世界的混乱无序。

The characters of the Fabulous times has been argued for several thous and years in Chinese ancient histories. The yea sayer has the theory of actual p erson and event, the theory of the chieftain of Clan or Tribe, the theory of the deputy of time talents, the theory of symbol of knowledge of ancient people etc .

中国古史传说时代的"人物"已争论了几千年，持肯定观点者，有真人真事说、氏族或部落首领说、时代群象代表说、先民智慧象征说等；持否定观点者，有神话说、先民社会现象符号说、后人伪造说等。

But one thing is certain: We have gone from an era of plenty to one of scarcity.

但有一点可以肯定。我们已经从一个富裕的时代走向了一个贫瘠的时代。

We live in a secular age, and I'm a product of it

我们生活在一个非宗教的时代，我是这个时代的产物。

In his Das Kunstwerk im Zeitalter seiner Technischen Reproduzierbarkeit , Benjamin pointed out that people's sensual capacity could be changed with the development of modern technology, and he made further research on the meaning of sensual change in technical area.

本雅明在《技术复制时代的艺术作品》一文中，指出：人类感官能力会随着当代技术的发展而转变，同时他也进一步研究在技术时代中感官转变对于艺术创作的意义。

The argues that firstly, a circumjacent perspective can change the self-recognition of China in the times of self-conceit or westernization; secondly, to study and criticize overseas Sinology and to pinpoint the differences between the researchers at home and those aboard, we can define the problem consciousness and standpoint in ...

作者尝试提出：第一，从周边看中国，可以改变过去以自我为中心想象天下的时代和以西方为唯一镜子的时代的中国自我认识；第二，通过对海外中国学的批评和研究，了解他们与中国本土研究者在方法和思路上的差异，可以明确中国文史研究的问题意识和自觉立场；第三，提倡交错的文化史研究，可以避免研究领域和研究资料的偏狭。

Yet just two years later, his belt pulled tight and with a proper expression of self-reproaching horror, Mr Fitzgerald felt nostalgic for the Jazz Age when people had lived with the "insouciance of Grand Dukes and the morality of call girls".

但仅仅两年后，随着他的腰带收紧，菲茨杰拉德表露出一种自我谴责的震惊，开始怀念爵士乐时代，称那个时代的人以"大公爵的漫不经心和应召女郎的道德理念"活着。

Yet just two years later, his belt pulled tight andwith a proper expression of self-reproaching horror, Mr Fitzgerald feltnostalgic for the Jazz Age when people had lived with the "insoucianceof Grand Dukes and the morality of call girls".

但仅仅两年后，随着他的腰带收紧，菲茨杰拉德表露出一种自我谴责的震惊，开始怀念爵士乐时代，称那个时代的人以"大公爵的漫不经心和应召女郎的道德理念"活着。

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。