现实主义

Realism has been improved to the realm of symbolism through creation of symbolic images, which in turn make the novels powerful and profound as well as realistic and natural. The stress laid on the settings helps get rid of trace of design in plots, and deepen the profound implications, which as a result, endow the works with particular profoundness, severity and significance. Through the analysis of the souls of the characters, a secret door deep in people's psyche has been opened and people's sub-consciousness, unconsciousness, abnormal consciousness and other complicated psychic phenomena have been revealed. Consequently a new and spacious aesthetic space is opened.

它通过象征意象的树立，"把现实主义磨练到了象征的境界"，使作品在真实可感、自然贴切之中显示出超常的力度和强度；它通过突出情境、淡化情节的设计，深化了作品广阔深厚的意蕴，赋予作品独到的深刻性、严峻性和巨大的意义；它通过心灵深处的剖析，打开了人们心理深层幽闭的大门，揭示出人们潜意识、无意识、变态意识之中种种复杂的心理现象，开拓出内心世界幽深廓大的审美视界。

It came as a reaction against the lie of romanticism and sentimentalism. Realism turned from an emphasis on the strange toward a faithful rendering of the ordinary, a slice of life as it is really lived.

现实主义反对浪漫主义和感伤主义的谎言，它从一个陌生的世界转向了普通人的真实生活的描写。

Hunger, as a root of physical want, makes Mo Yan's writing become sensory with a personal colorful style. As Mo Yan said himself, he wanted to create a kind of "stomach perforation" work based on harsh realism. After some analysis and research, I found that there was a kind of writing style in abjection, sensory imagination, and instinctive bounce in his creation, which forms a kind of hunger satisfied/swell, absurd/violent, reincarnate/magical illusional narrative aesthetics.

而「饥饿」作为生理匮乏的根源，使莫言的创作开展出一种极具个人色彩感官式的书写，诚如莫言自陈的想写出立基於严酷现实主义「胃穿孔」的作品，经分析与研究后，发现在他的创作中确实以一种贱斥化观点、官能式想像及本能式跃动的书写特色，形成一种饱餍肿胀、荒诞暴力、轮回魔幻的叙述美学。

Epochs of Cubism, Abstractionism and Pop Art have all been those in the post-realistic era .

艺术上的立体主义、抽象主义与通俗艺术都是后现实主义时代的三个艺术时期。

The old can also shows the waste, symbolizing the identity of two heroes, in accordance with with th e modern absurdism in this film.

破旧的油桶里的内容还有一种废弃物，无用的象征，也正好代表两个主人公的身份，正好和作品荒诞现实主义的表现手段相符合，具有象征意义。

But in the fact,"absurdism"is not able to sum pinter's writing style,pinter's works inosculate both the character of realism and absurdism.

但事实上，品特的创作风格远不是"荒诞派"所能概括的，品特的作品既有现实主义的传统因素，也显示出了鲜明的荒诞派特征。

The word "realism" in the West includes the foregoing two aspects of connotation, depending its specific meaning on the described content, whereas these two aspects are described as the "factualism" and "realism" respectively in Chinese of course, these two terms are related somehow, for the realistic art is embodied by the factualistic approach, whereas other arts in the form or with the language of symbolism, nonobjectivism or absurdism are often included into other isms although such arts demonstrate the realistic traits and essence.

这两层意思在西文中都用一个Realism来表示，根据它所述内容而确定其含义，而在中文里则用"写实主义"与"现实主义"分别来加以表达。

Therefore, it was not a realistic work in a strict sense, but the one full of modern flavor mixed by symbol, metaphor, dreams, absurdness and mythological mode.

因此，它不是一部严格意义上的现实主义作品，而是运用象征、隐喻、梦幻、荒诞和神话模式构建出来的一部极富现代意味的作品。

Therefore,it was not a realistic work in a strict sense,but the one full of modern flavor mixed by symbol,metaphor, dream s,absurdness and mythological mode.

因此，它不是一部严格意义上的现实主义作品，而是运用象征、隐喻、梦幻、荒诞和神话模式构建出来的一部极富现代意味的作品。

Actually, if we want to seriously discuss about 'Modernity', we'll find out that this issue has an awkward situation in China. Let's forget about the sociological issues and let's simply start from visual arts. The old generation of artists who brought western arts to China, actually brought along western classic arts academism that is just small part of western classic art, and it's far of being exhaustive. Furthermore, what they brought along went through many changes due to the contact with revolutionary realism and local culture. The result of this process was what was called "Modern Art" in China. After having arrived in China, a part of the western artistic academicism became "Chinese Modern Arts" and this misplacement still exists. Perhaps it comes from a creative misreading, however whether it has the capability of becoming an independent system or not, still remains uncertain.

事实上，当我们想认真的讨论"现代性"时，就会发现这一问题在中国有着极其尴尬的处境，且不谈社会学角度，从视觉艺术这个很小的角度切入，将西方艺术带入中国本土的老一代艺术家们带来的其实是西方学院派的艺术，是西方古典艺术的尾巴或被革命现实主义化了的西方古典艺术，而被带入中国本土后却被称为"现代艺术"，直至今日当代艺术在西方的学理支撑到了中国本土变成了被断章取义的只言片语，这其间"错位"一直存在着，或许这是一种有创造性的误读，但误读的主体是否具有独立消化能力的系统值得商榷。

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。