本体论的

Westerner emphasize ethics value with ontology, epistemology relative meaning, it's the congenital defect of" value question" when western traditional philosophy thinking; Though among China traditional philosophies, originated places to embody, but, going with enervation trend of traditional culture and the impacts of western culture, especially, affected by Russian textbook of Marxism, we do not only realize the value natural instinct of China"s traditional philosophy as consciously, and philosophy is studied and comes from the west to think" value question" instead, even in order to coming and study people"s" value problem" western traditional the thinking frames. This is what cause contemporary people and historical origin of the double predicament of philosophy, also is the realism meaning of the animadvert on the present philosophy view.

西方人在与本体论、认识论相对的意义上强调伦理价值，这是西方传统哲学思考"价值问题"的先天性缺陷；虽然在中国传统哲学中，起始处就是体现为以"内求诸己"的方式把握人"生命之道"的价值性的思想，但由于近代以来伴随传统文化的衰弱趋势和西方文化的冲击，使我们一味效仿西方哲学的范式去研究哲学，尤其是受前苏联马克思主义教科书体系的影响，我们非但没有自觉意识到中国传统哲学的"价值问题"指向，反而认为对"价值问题"的哲学研究源于西方，甚至在被马克思终结了的西方传统形而上学的思维框架中来研究人的"价值问题"，这是造成当代人与哲学双重生存困境的历史根源，亦是当代哲学观批判的现实意义。

The main body revolves around the fictionalization of the text, humanization and liveliness in portraying characters, the formless narrative, the formal of spiritual subject and the meaning of Dong Xi"s works to the contemporary fiction creating, exploring the characteristic of complete fiction in the artistic ontology, concentrating his attention on life content in portraying characters, the narrative pattern of the formless, the formal pursuit in spiritual subject, and its distinctiveness comparing to other "Late Generation""s works, what artistic elements he uses and how his texts that the whole human share are organized by using these artistic elements.

正文主要围绕小说文本的虚构化，人物塑造的人本化、生命化，形而下的叙事，形而上的精神主题和东西的小说艺术对当代小说创作的意义五个问题，探讨了东西小说在小说艺术本体论上的全虚构特性；在人物形象塑造上的生命含量的倾注；在叙事层面上的形而下形态；在作品精神主题上的形而上诉求以及东西的小说文本在晚生代作家中的独特性、它采用了哪些艺术元素以及如何把这些艺术元素组织成一种全人类所"共享"的文本等问题。

In this regard Xunzi's thought is at least six centuries ahead of Porphyry's.

荀子提出了一个名称分类体系，其中涉及名称和事物之间的种属包含关系，其思想领先於古罗马的波菲利至少六个多世纪，但不如后者的理论系统、完善和深入；他强调了名称的社会性、约定性和强制性，论述了名称的「约定俗成」本质，以及「约定俗成」的制名过程，这涉及到语言的社会分工；他论及了名称的认知功能和交际功能，但更为关注名称的社会政治功能和道德教化功能；他讨论了制名的本体论根据和认识论根据：命名对象本身的同异，以及人的认识器官对这种同异的感知和认识，是制定不同名称去指涉这些对象的基础；并讨论了制名和正名的一些关键性环节，以及使用名称的三种基本谬误，最后探讨了名称在辩说体系中的地位和作用。

Guo Guichun, the Chinese expert in scientific realism, considers that different from the argumentation between the former traditional realism and the antirealism, the divarication from the contemporary scientific realism with the antirealism is no longer about whether or not acknowledgement of existed objective world independent from the will of the people, or ontology question and so on in material first nature, but about the acknowledgment of world existence, acknowledgement of the perceptual experience provided for objective world information, acknowledgement of the science as the rational cause, acknowledgement of the progressiveness and success of science, acknowledgement of that under the premise of theory entity playing key role in the cognition process, to understand why the science can obtain success, approach the truth gradually, or the real existence of theory entity, or actuality of the scientific goal, so on in the divarication of significant epistemology .

中国科学实在论研究专家郭贵春认为：与既往的传统实在论与反实在论之争不同，当代科学实在论与反实在论之间的分歧，不再是关于是否承认存在着独立于人心的客观世界，是不是物质第一性等本体论问题上的分歧；而是在承认世界的存在性，承认感性经验(来源：ABba0aC论文网www.abclunwen.com)能为我们提供客观世界的信息，承认科学是一项合乎理性的事业，承认科学的进步性与成功性，承认理论实体在认识过程中能起重要作用的前提下，理解科学为什么会取得成功，为什么会向着逼近真理的方向发展，理论实体是否真的存在，科学的目的究竟是什么等重大认识论上的分歧。

Whereas, this article will adopt the autology of New Media Art to discuss its meanings of ontology. The newness of New Media Art will be highlighted. That is, how we orientate and interpret the core of"new", how we distinguish and classify the impact caused by the application of new technologies and mixed media, how to explain and analyse the contradictive as well as unitive relations among image, time and space in New Media Art. This article argues about some controversial academic notions and defines aesthetic scopes logically, in a hope to provide the study of New Media Art with tangible aims and stands.

有鉴于此，本文从媒体艺术的媒体属性入手，对新媒体艺术的本体论意义进行阐释，特别突出了新媒体艺术&新&的本质(即我们怎样定位和解读其&新的内核&)；对现代技术和混合媒体的应用给当代艺术带来的影响与冲击进行甄别与归类；对新媒体艺术中的影像、时间与空间因素之间内在的既矛盾又统一的复杂关系加以分析，以期对争议已久的学术概念和美学范畴进行合理的界定，为我们对新媒体艺术发展趋势的研究与实践确立明确的目标和立足点。

This essay analyzes the actuality of investigation in China Mass-economics and points out shortages of present investigation in the area: two falls and two disjoints , namely the fall between qualitative investigation and quantitative investigation, the fall between macroscopic investigation and microcosmic investigation, the disjoint between theory and practice, the disjoint between economical theory and communication theory; the causations of the deficiency are: from subjective view neglecting the localization of overseas achievement in Mass-economics and the investigation of ontology.

内容提要：本文对五本期刊1990年以来有关传媒经济的研究文章进行了整理和考察，分析了我国传媒经济学研究的现状，指出了当前传媒经济研究的不足之处：&两个落差、两个脱节&，即定性研究与定量研究的落差、宏观研究与微观研究的落差、理论与实践的脱节、经济学理论与传播学理论的脱节；造成不足的原因是：主观上忽视了国外传媒经济研究成果的本土化、忽视了传媒经济学的本体论研究，客观上存在着体制因素的制约、人文科学研究习惯的制约以及研究者自身素质的制约；本文对今后传媒经济学的研究提出了建议：建立传媒经济学研究的科学构架、建立适合本学科特点的研究方法、充分吸收经济学的理论成果等。

Neo-Kantianism philosophers conform to the modern turn of Western philosophy, resist and exclude metaphysics, transcend method of thinking of Dualism, make use of the newest fruit of natural science and humanities, establish fairly systemetic philosophical theory. It not only has made traditional ontology, epistemology and methodology receive more systematic and thorough research, but also establish new philosophical subject: axiology philosophy.

新康德主义者顺应着西方哲学的现代转向，拒斥形而上学，超越二元对立的思维方法，利用新兴的自然科学和人文科学的最新成果，构建了比较系统的哲学理论，不仅使得传统的本体论、认识论、方法论得到了更加系统和深入的研究，而且构建了新的哲学学科：价值哲学。

Finally, from the point of view of movie ontology, it detailed analyzes the valuable feminism movies and outstanding female images of both China and foreign countries on the basis of theoretical explorations. Through the technical control of female consciousness and female wording, it generalizes several expressions of female relaters, which helps better to exhibit female consciousness. And it tries to probe the survival laws and outlets of female images in movies.

最后，从电影本体论角度出发，在进行理论探索的基础上，具体分析值得借鉴的中外女性主义电影和优秀的女性形象，并通过对女性意识、女性话语的技术性把握，概括出了为更好地张扬女性意识而采用的女性叙述人的几种表达方式，力图探索女性形象在电影中的生存规律和出路。

This paper presents a workflow management system based on software agent. It applies an activity-based modeling method and builds formal workflow model. It also puts forward an agent model composed of activity model, intention model, skill model, self-capacity model and companion model to implement workflow management. An agent federation which can be nested is constructed to enhance system flexibility and a shared domain ontology based on workflow is defined to support semantic interoperation among agents.

文章提出了一种基于软件agent的工作流管理系统，采用基于活动的工作流建模方法，建立了形式化的工作流模型，在此基础上，定义了包括活动、意向、技能、自身能力、伙伴等模型的实现工作流运行的agent模型，构建了可嵌套的agent联邦结构，增强了系统的灵活性，并定义了基于工作流的共享领域本体论，支持agent间的语义互操作。

The post-modernist fiction is featured with an ontological negation of its traditional counterpart. Robbe-Grillet's Les Gommes forms a narrative network based on an alteration of the traditional whodunit's mode of narrative, and directs fictional creation inwards, thus ushering fiction into a new era.

后现代语境下的小说创作是以从本体论意义上否定传统小说为特征的，罗伯－格里耶的《橡皮》通过对传统侦探小说叙事模式的拆解，在结构上形成独到的叙事的&网&，将小说创作真正引向其自身，从而开启了新的小说时代。

This one mode pays close attention to network credence foundation of the businessman very much.

这一模式非常关注商人的网络信用基础。

Cell morphology of bacterial ghost of Pasteurella multocida was observed by scanning electron microscopy and inactivation ratio was estimated by CFU analysi.

扫描电镜观察多杀性巴氏杆菌细菌幽灵和菌落形成单位评价遗传灭活率。