现实主义的

In the introduction, the condition of the importation and research of romanticism in Chinese in the first 50 years of the 20th century is reviewed, and there exist two main evils: On one hand, Chinese theorists tend to have some priori knowledge before their study, they always compare the so-called"original state"of romanticism in the western with the modern Chinese romanticism, thus they deny the possibility of Chinese romanticism. Under such condition, no-theoretical system of romanticism appeared in China, we have neither broken away from the hegemony of the western literature, nor have we grasped the modern Chinese romanticism in a whole. On the other hand, we hold a mechanical idea that romanticism develops itself from the conflict with the classicism、the realism、the modernism, so the essence of the romanticism is subjectively and lopsidedly established, that makes the concept of romanticism lose its function as a symbol.

在绪论中，主要回顾了20世纪前50年我国理论界对浪漫主义的引进与研究状况，引出了我们面前对浪漫主义研究中出现的两大弊端：一是理念的先验性，以所谓西方"原汁原味"的浪漫主义理念来比照、言说中国现代浪漫主义文学，从而形成了一种否定现代中国浪漫主义存在的理论倾向，既没有形成象勃兰兑斯对欧洲十九世纪浪漫主义的"本土式"的言说，没有真正摆脱西方文学霸权话语的阴影，形成自己的浪漫主义理论体系，也没有完成对现代中国浪漫主义的整体把握；二是以一种"意图伦理"的姿态，机械地认定浪漫主义是从与古典主义、现实主义和现代主义的冲突中建立起来的，主观而片面地确认中国现代浪漫主义的内涵，使浪漫主义概念越来越混乱而空泛，已经停止履行一个词语符号的功能。

The realist in murder writes of a world in which gangsters can rule nations and almost rule cities, in which hotels and apartment houses and celebrated restaurants are owned by men who made their money out of brothels, in which a screen star can be the fingerman for a mob, and the nice man down the hall is a boss of the numbers racket; a world where a judge with a cellar full of bootleg liquor can send a man to jail for having a pint in his pocket, where the mayor of your town may have condoned murder as an instrument of moneymaking, where no man can walk down a dark street in safety because law and order are things we talk about but refrain from practising; a world where you may witness a hold-up in broad daylight and see who did it, but you will fade quickly back into the crowd rather than tell anyone, because the hold-up men may have friends with long guns, or the police may not like your testimony, and in any case the shyster for the defense will be allowed to abuse and vilify you in open court, before a jury of selected morons, without any but the most perfunctory interference from a political judge.

写谋杀小说的现实主义作家所写的世界中，歹徒可能统治国家，甚至城市。在那里，旅馆公寓、有名的酒楼餐厅的主人是靠开妓院发财的，电影明星可能是盗匪的眼线，大厅里那个彬彬有礼的人可能是彩票老板。在这个世界里，法官藏有一地窖的私酒，却可能因一个人口袋里有一瓶酒而送他进监牢；你家乡的市长可能为了到手钱财而对谋杀案眼开眼闭；入夜之后无人敢在街上行走，因为法律和治安是句空话，从来没有实行过。在这个世界里，你很可能在光天化日之下见到有人沿路拦劫，明明看清楚是谁在作案，但是你马上躲开，混到人群中去，不愿出来告发，因为拦劫的人可能有朋友为他报复，或者警方可能不喜欢你出庭作证，不管怎样，为被告辩护的恶讼师可以在法庭上对你百般侮辱，因为陪审团里都是他们挑选的低能儿。有党派背景的法官除了敷衍一下外不会加以干涉。

As a major nineteenth century English novelist, Thomas Hardy occupies an unusual and prominent position in the age of literary transition from realism to modernism His structure of narration illustrating itself in "square dance","coincidence"and symbol of the four seasons in his novels,could be regarded as his great invention, a new writing approach which has enriched the writing style of novel The unusual structure of narration has endowed Hardy 's novels with a special charm and distinguish...

英国 1 9世纪小说家托马斯？哈代生活于小说创作的现实主义和现代主义交界时期，他以独特的创作手法在英国文坛上赢得了一席重要的地位。叙事结构可谓是他的一大独创，为小说创作提供了崭新的创作手法。这种结构具体体现在"方阵舞"的阵型、"巧合"的运用和四季的象征中，赋予了哈代的小说一种独特的魅力，也使他迥异于 1 9世纪英国其他的小说家。

I wanted to get the positions to feel real (who wouldn't want it for a realistic approach, anyway…O_o) So, I used the best references I could get… i.e. myself!!! O_O The only problem using this trick is that you risk losing the shape of your original character. But for here, my skinny body has served me well… ahum… So, I've painted the characters using these pictures of me playing the hunter with a dictionary. Also, during the week-end, I've added details on the background, and I've tried to redesign stuff that were quite foggy on the line art. There are things still weird in the image (unbalance stuff on the beast for exemple), but I'll try to get through it later.

我希望能使它让人感到真实（虽然没人觉得这是现实主义）所以，我做了几种我能得到的效果做参考，唯一的问题就是我得冒着失去我最早设定的人物外观的危险，幸好，我的这些人物设定好不赖，结果在词典的帮助下，我用这张图上为我的人物设定上色，周末我又给背景添加了细节，我已经厌倦了重新为我那朦胧的素材重新设计，虽然画面仍然有点怪，比如野兽的不平衡，不过最后我绘解决它的。

On the basis of deep analysis on the relation between two judgments on human nature, intellectual virtue and moral virtue, a good people and a good citizen, the relation between the two judgments of eudemonia is explained. That eudemonia is an activity of soul in accordance with perfect virtue is just a tache which links two kinds of eudemonia. Their internal relation also shows the combination of idealism and realism.

在深入分析&人的本质&的两个论断、&理智德性&与&道德德性&、&好人&与&好公民&的关系基础上，两种&幸福&的关系得到了说明：&幸福是灵魂的合于完满德性的实现活动&成为联结二者的纽节，其内在的紧密联系也体现了亚里士多德对&幸福&的理解中理想主义与现实主义精神的结合。

The deep going change of historical and cultural environment in the nineties has led to the disparity about writing pattern of life consciousness and the transformation of theme state, so has brought about the transformation of humanity writing. The new historism novels have begun writing many kinds of life form in made-up historical space, and have deducted complicated humanity sceneries, which include violence, evil, misery, degradation, etc; The private novels have paid attention to experience of female life itself, and has displayed particular life pattern of women; The new state novels have manifested revelry and anxiety of the 搉ew? human beings in metropolis, displaying objectified existing state; Novels in the realism shock have regarded heroes as ordinary people, revealing awkward life state.

九十车代历史文化语境的深刻变化导致了生命意识书写方式的差异和主题形态的嬗变，从而带来了人性书写的改观：新历史主义小说在虚构的历史空间中展开对多样生命形式的书写，演绎出暴力、罪恶、苦难、沉沦相交织的人性景观；私小说则关注女性生命本体的体验，展现了女性特有生命姿态；新状态小说注重表现都市新人类的生命狂欢与焦灼，展示了物化的生存状态；现实主义冲击波小说则完成了改革英雄到普通人的转换，揭示了尴尬的生命形态。

It realizes and animadverts modernity in its special way by exposing the dark reality mercilessly and reappearing the ugly humanity objectively.

它创造性地把文学和科学结合起来，将生物学、遗传学等自然科学引入文学领域；它运用科学态度和方法指导文学创作，以真实、客观为文学的根本原则和出发点，将写实风格发展到极致；它打破了只从理性层面刻画人物的文学禁锢，从生理层面对人的生物性进行赤裸裸的写真；它通过对黑暗现实的无情揭露、对丑恶人性的客观再现，完成对现代性的独特体认和批判；它前承现实主义，后启现代主义，是文学史从近代向现代过渡中的一次重要的文化超越，具有极为重要的意义。

The "political pop" heat possesses the intent of modern art movement in 1980s apparently, and the representative artists deconstruct the revolutionary realism set up in the Mao Zedong's Time by peculating the trends of western modern art and post-modern art. The more important cause is that the great transformation of Chinese social background, reform and opening-up policy made by Deng Xiaoping let China transit from the original political country to economic country. And this kind of profound change compels sensitive artists to pay attention on current reality in new approach. The angles of view of "pop" let artists find popular approach to confront the political complex of the past.

政治波普热明显的带有80年代现代艺术运动的意向，它的代表性艺术们通过挪用西方现代与后现代艺术的思潮使毛泽东时代建立的革命现实主义得到了解构，更重要的原因是中国社会背景的大变化，邓小平的改革开放使中国由原来的政治国家逐渐过渡到经济国家，这种深刻的变化逼迫敏感的艺术家们必须以新的途径关注当下现实，而波普的视角使艺术家们找到了与过去的政治情结相对抗的流行途径。

Realism concentrates on the representation of the external reality of certain social group, featured by chronological order, omniscient point of view, closed ending, external characterization and so on; modernisms focus shifts to the consciousness and subconsciousness of mankind, mythical archetype, stream of conscious, anti-hero, open ending have been used frequently by modernists; postmodernism serves as a break as well ascontinuity of modernism, similar with modernism, it rebels against any pre-established rules and pays attention to innovations in form, but it emphasizes absurdity, playfulness and the crisis of representation in postmodern society, the blurring of high and low literature, collage, parody are the favorites of postmodernist.

现实主义侧重对社会某一群体的现实生活的反映，一般带有明确的时空概念，严密的情节，常用的叙事角度为全知视角，人物塑造上以外部描写为主；现代主义小说多表现人物内在心理的变化，关注人的意识及潜意识，神话原形、意识流、反英雄、开放式结尾为现代主义小说常用手法；后现代主义小说继承了现代主义对传统的反叛、形式上的革新等原则，但其作品强调后工业社会的荒诞性、游戏性及表征危机，有意识地混淆了高雅文学与通俗文学的界限，拼贴画、戏仿在后现代作品中应用广泛。

It is divided into three parts to discuss: In chapterⅠIt discusses the Yang Yazhou's film and teleplay creation of civilians orientation from the perspective of choose topics, all the film and teleplay of Yang Yazhou have chosen the pipsqueak for the main represent targets, focused on the demonstrating the state of survival and psychological changes of these figures in a Time of Change when the living conditions of China changed. Obviously, it accords with popular culture for publicity awareness of the requirements of the civilian population, and the current aesthetic habits of the civilians, at the same time, the consciousness of the topic choice made a tacit understanding with the reactive tendencies of reality of the world, and Chinese film movies, television dramas, and it is an excellent creative concept of inheritance and development in the Yang yazhou film and teleplay works. Stories often start around the family, family members and the major social relation of family members are described in detail. And the vicissitudes of life are similar to Motif of many folktales.

论文分为三章加以论述：第一章从题材选择的角度探讨了杨亚洲影视剧创作的平民化取向，杨亚洲的所有影视剧作品都选择了小人物为其表现对象，着力于展现这些人物在变革时代的中国当生活境遇发生改变时的生存状态和心理变化，这显然符合大众文化对于宣扬平民意识的要求，符合当下老百姓普遍的审美习惯；同时，这一题材选择上的自觉性也与世界电影史和中国电影、电视剧发展史中的现实主义创作倾向形成了难得的默契，是对一种优秀创作理念的继承和发展；在杨亚洲的影视剧作品中，故事往往围绕家庭展开，对家庭成员和家庭成员的主要社会关系进行了细致地刻画，并且他们之间的悲欢离合与我国民间故事中的诸多母题颇为相似。

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。