现实化

However, obviously, his attitude to life is not purely sensory, autistic, negative or cynical, even not neutral. At least, according to the painter's statement, the motivation of the concern is "re-propose the issue of interaction between people and society and the new objective for reflection", to show an ideal of "overcome loneliness, overcome negative, overcome impetuousness."(Deng Jianjin's Readme). I think basing on this starting point for thinking, he keeps the proper distance with the new generation art whose attitude to life is straightforward, graphic, artificial and evasive.

但很明显，他对生活的态度不是纯感官性的、自闭的、消极的或泼皮式的，甚至也不是中性化的，至少，按照作者自己的说法，这种关注的动机是为了"重新提出人与现实社会的感应问题和新的反思对象"，为了展示一种"战胜孤独、战胜消极、战胜浮躁"的理想化的东西，我想，正是在这个思维起点上，他与那些平铺直叙、图解化、矫饰的逃避式地对待生活的新生代艺术保持了应有的距离。

Mr. Ying Yuandao ever summarized the discussions on the Christianity Localization Movement in China in the 1920s, and held that the so-called localized Christian churches should have the following characteristics:"First, churches of the Chinese; Second, set up according to the experiences of the Chinese Christians; Third, with rich quality of Chinese culture; Fourth, combine Christianity and Chinese culture into a whole; Fifth, suits the spirits and psychology of the Chinese People; Sixth, enables the religious life and experience of the Chinese Christians to be adapted to Chinese customs"1. In the 1960s, Japanese scholar Sumiko Yamamoto made more detailed summarization for the definition of the Localization Movement of the Churches in China in her article "The Independent Movement of Christianity in China in the 1920s":"First, churches are formed of Chinese; Second, churches are independent in administration and operation; Third, churches have independence in the economic aspect; Fourth, churches are adapted to the Chinese in the aspects of church building, divine music, divine painting and liturgy etc. Fifth, accommodate the sacrificial fete and customs of the Chinese and Christianize them; Sixth, churches must be involved in the practical issues in the State and the society of China; Seventh, churches must get rid the tradition and colors of the European and American churches; Eighth, churches must be able to control themselves, sustain themselves and spread by themselves."

应元道先生曾对20世纪20年代开展的中国基督教本色运动的讨论加以概括，认为所谓本色的基督教会应有以下几个特点："一是中华国民的教会；二是根据中国基督教徒自己的经验而设立的；三是富有中国文化的质素的；四是要把基督教与中国文化合而为一的；五是能适合中华民族的精神和心理的；六是能使中国基督徒的宗教生活和经验合乎中国风土的" [1]。60年代，日本学者山本澄子在其所著的《二十年代中国基督教的自立运动》一文中，对中国教会本色化运动的定义作了更详细的概括："一，以中国人为教会的构成；二，教会的行政与运作等方面的自立；三，教会在经济方面的自立；四，教会在教堂建筑、圣乐、圣画、礼拜仪式等方面的中国化；五，容纳中国人的祭祀与习俗，并与基督教化；六，教会要置身于中国国家与社会的现实问题之内；七，教会要除去欧美教会的传统与色彩；八，教会要能自治、自养、自传。"

It is pointed out that,for overcoming time-delay infection of teleoperation of space robot and ensuring the stability and transparency of telerobot system in space,developing strategies should be that ①augmented reality technology with multi-apperception and robustness is adopted for configurative,certain and static environments;②the control technology of intelligent independence in slave local system with vision assistant is adopted for non-configurative, uncertain and dynamic environments;and ③intelligent control technology with multi-modes is adopted for multi-states environments.

指出就目前的技术发展水平而言，要能够有效地克服时延以确保空间机器人遥操作稳定性的同时系统具有良好的操作性能，应该采取的策略是：①在结构化的、确定性的和静态环境下，采用具有鲁棒性的多感知增强现实技术；②在非结构化的、不确定性的和动态环境下，采用视觉引导下的从端局部智能自主控制技术；③在多态环境下，采用多模式智能控制技术。

Coincidently, in China, there are these young artists who are present during this exhibition, who rebel the tradition, doubt and worry the reality; facing the prosperous image of the world modern art with a "marginal" attitude of real artists, and keep distance with gaudy social climber; with missional responsibility and criticalness, they enter into personal experience and thinking.

巧如斯，在中国有这样一些正如我们此次画展推出的年青艺术家，他们把对传统的叛逆和对现实的质疑与忧患自觉地保持一起；以真正艺术家的"边缘"的态度，面对国际当代艺术一片繁荣的景象，疏离于趋炎附势的媚俗；带着一种使命感和批判性，"远离大叙事、反符号化、反政治化，"进入个体化的体验和思考。

Primary impedient genes can be found on the basis of thorough discussion on the formative mechanism, transformation and correlation between yield potentialities of crops and actual productivity, which would provide foundation for agricultural programming and, possess vital realistic meaning for harmonious development stratagem establishment of population, resources and environment, can accelerate integrated management of stone desertification in karst regions and sustainable development of ecosystem besides.

深入探讨作物生产潜力、现实生产力形成机理及转化和相互关系，可以发现提高产量的主要障碍因子，为农业生产规划提供依据，对于制定人口、资源、环境协调发展战略，促进岩溶石山区石漠化的综合治理和生态系统的可持续发展，具有重要的现实意义。

The new curriculum emphasizes mathematics and the real life relation, but also proposed specially mathematics teaching is mathematics activity teaching, is also lets the student career mathematization process the activity, lets the student embark from own mathematics reality, catches mathematics question with mathematics judgment in the life, utilizes mathematics knowledge analysis life phenomenon on own initiative, thus solves the actual problem which independently in the life meets.

新课程强调数学与现实生活的联系，还特别提出了数学教学是数学活动的教学，也就是让学生经历数学化过程的活动，让学生从自己的数学现实出发，用数学的眼光在生活中捕捉数学问题，主动地运用数学知识分析生活现象，从而自主地解决生活中所遇到的实际问题。

Using timeline and crossmap techniques,the paper analyzes the reasons of science communication's development in three aspects of the internal structural changes,knowledge sources and exterior related specialties' interplays.

科学传播研究是社会现实发展的一种回应，通过对科学传播研究领域的文献计量和可视化分析，让科学传播理论研究与社会现实形成良性互动，为国家科学政策的制定提供借鉴。

But the split within this totality mutilates it to the point of making the spectacle appear as its goal.

当现实同化进景观化的秩序，并赋予它切实的粘合性时，活生生的现实被景观的&空想&所侵蚀。

Film-makers have chosen characters and subjects from their immediate environments and have filmed them without using the conventional ˉfiltersˇ of melodrama, stylisation or manipulation, as found in the social realist classics of the 1930s and 1940s.

电影制作人直接从最贴近他们生活的环境取材、选取人物，并且如三四十年代的社会现实电影，不加任何情节化、风格化、操纵性的&滤镜&，直接呈现现实。

The chapter reveals that just like the Surrealists'explosion of art into life itself, Benjamin's theoretical realization is to philosophize life and history. The method employed by him is montage, by which reality is reorganized and thus transformed according to the Messianic ideal.

本章指出：正如超现实主义把生活艺术化，这种实践是把生活和历史哲学化与政治化，它以蒙太奇的手法重新规划现实，显现救赎的远景意象，以此打破资产阶级意识形态的麻醉作用，对抗商品社会的物化与异化状态，寻找历史与现实的本真意义和发展的总体趋势，即到达弥赛亚时代。

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。