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Nevertheless,during this period, Confucian thought has been greatly challenged by the researchers of Didacticism and Confucianism. Therefore,in analyzing the revival phenomenon,we bear in mind the following three premises: 1)Didacticism has received strong critic ism s in the contemporary world; 2)The international environment and China's status has changed radically; 3)The ideological position and function has undergone a transformational change; and 4)Confucianism itself has changed a lot.

当然,它们也受到来自启蒙主义与儒学研究者的批评;而我们在讨论这一时段儒学复兴现象时,也须注意以下前提:一、启蒙主义在今日世界受到严重的挑战;二、国际环境和中国的国际地位发生了根本性的逆转;三、意识形态的地位与作用发生了转变;四、儒学本身也发生了诸多变化。

The author argues that we should change our view of art as expressed in the notion of disinterestedness, shift the focus of our studies from high art and traditional aesthetics to the aesthetic phenomena of the daily life,and pay critical attention to the new forms of social inequality and power relations hidden behind the process of aestheticization.

面对这种现象,美学与文艺学工作者应该突破审美活动的自律性观念,打破美学研究的传统对象,关注日常生活的审美化并寻找美学研究的新的生长点;同时,必须警惕日常生活审美化中存在的新的不平等现象,批判性分析新媒介人阶层的社会角色与意识形态,揭示审美化与大众消费主义意识形态以及市场逻辑的合谋。

Under its influence, China's literary theory of the new age has achieved the aesthtic tendency and showed the trend of aesthetic monism and perceptual ontology of aestheticism in such respects as aesthetic experientialism, aesthetic perceptivism, aesthetic formalism, aesthetic transendentalism and aesthetic essentialism.

刘小枫指出:作为一种现代性思想类型,审美主义是审美的一元论和感性本体论 [1] 。尼采的审美主义言论也许可以作为刘小枫论断的注脚:"只有作为一种审美现象,人生和世界才显得是有充足理由的。"

In the novel, Bellow demonstrates the over-consumption and the fetishism of the Layamons through description of details.

贝娄在小说中通过对细节的描写表现了拉亚蒙一家的过度消费和"拜物"现象,对后工业社会里的消费主义文化现象进行了深刻的揭露和批判。

Instrumentalism can exist in any kinds of society, whereas te- leology is an unique phenomenon under particular social condition.

法治工具主义是人类社会的普遍现象,法治目的论则是人类社会的特定历史条件下独特的现象。

Simultaneously,we should guard against the materialization and the Philistinism resulted by the consumptive culture and the des.

消费主义是全球化过程申的一个文化现象,是我国入世后绘画艺术发展的一个重要方向,我们应以全球文化的眼光正视绘画艺术的消费主义倾向,同时我们也要警惕消费文化造成的绘画文化的物化和庸俗化以及对绘画文化意义的销蚀。

This is in order to construct some alternative realities other than the one constructed by the dominant paradigm, prohibitionism, so that its hegemonic meaning on drug and drug users can be challenged and more meaning liberated from the drug phenomenon.

本文旨在透过借助不同的理论去建立一些崭新的典范,以协助我们解读香港青少年「滥」用药物的现象,从而突破挑战主流典范--严禁主义--对青少年「滥」用药物现象的垄断性阅读,为它释放出更多元丰盛的意义。

With the introduction of marketable mechanism in china, the phenomenon of particalaristic trust and universalistic trust declined has aroused.

我们在引入市场机制的改革过程中,出现了特殊主义信任衰败化、普遍主义信任混乱化的现象。

To use an example from Seneca,"very often even the bravest man grows pale as he puts on his armor" On anger 2.3.3 (translated by Sorabji on 96. As Sorabji notes, the concept of the pre-emotion allows Stoics to set aside objections to their intellectualistic theory of emotions: when their opponents contended that the brave man's pallor proves the non-cognitiveness of emotions, Stoics were able to deflect such criticisms on the grounds that such phenomena are but preludes to true emotions.

引用一个塞雷卡的例子:&即使最勇敢的人在穿上盔甲时也会脸色苍白&(《论愤怒》2.3.3,Sorabji翻译,第96页),正如Sorabji指出的,前情感的概念使得斯多葛主义这能够逃避对他们惟智主义情感理论的反驳:当对手提出勇敢的人的恐惧证明了情感的非认识性,斯多葛主义者就能够把这一驳斥转换到一个新的基础上,主张这一现象只是真实情感的前奏。

This dissertation has 7 chapters. Chapter One introduces the tradition of historical narration in Chinese literature, discusses the relationship between fiction and historical narration, and the historical view of humanism in traditional novels. Chapter Two analyzes the historical view in contemporary red narrative, the origin of red historical compilation, hypo-realism in red novels of officers, and the features of taking personal narrative as revolutionary narrative etc. the song of youth is taken as an example to illustrate the secret of changing little burgesses narrative into revolutionary narrative. Chapter Three focuses on re-emergence and changes of enlightenment historical narrative and the historical sense of enlightenment. Tibet, implied times and the family of red corn are taken as examples to illustrate the features of changing from enlightenment historicism to new historicism. Chapter Four examines the phenomena and characteristics of new historicism narrative. The following chapter concerns the historical narrative by Yu Hua and Mo Yan, and historical sense of quasi-new historicism in Wang Anyi's Changhenge.

正文共分七章,第一章是对&中国文学中的历史叙事传统&的追溯:探讨了中国文学中&小说&这一文类与&历史叙事&之间的渊源关系,传统小说中的人本主义与生命本体论的历史观、其悲剧本质的历史诗学与美学理念、其循环论与非主流的历史伦理:第二章是对&当代红色叙事中的历史观&的分析:探讨了其&红色历史编纂学&的由来,红色官史小说中的&伪现实主义&、&把个人叙事装饰为革命叙事&的特点、其&革命&外表下装裹着的&旧式&的叙事模型等等,还以《青春之歌》为例分析了由小布尔乔亚叙事改装为革命叙事的奥秘:第三章是对&启蒙历史叙事的重现与转型&的梳理:分析了寻根文学中所包含的启蒙历史主义意识一一从最早的民俗学趣味、到寻根诗歌中&文化民族主义&的突然高涨、还有寻根小说中所包含的各种新型的历史思想,还以稍后的扎西达娃的《西藏,隐秘岁月》和莫言的《红高粱家族》为例,探讨了其由启蒙历史主义向新历史主义过渡的特点:第四章是对&新历史主义叙事的现象与特征&的分析,先是梳理了新历史主义文学思潮从八十年代后期到九十年代末期所出现的大量现象和演变的轨迹,而后分析了各种类型的新历史主义叙事的特征,其基本尺度、还有&新&与&旧&的关系等等;此后第五、六、七章分别就余华和莫言的历史叙事、还有王安忆的《长恨歌》中的类似新历史主义的历史意识进行了分析。

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