理论上地

At the moment, however, I want to focus on perception and make three points. The first is a point about the intimacy of the connection between perception and action. It involves an argument designed to show that, contrary to what we might suppose, there is no logical or conceptual gap between our conscious perceptual awareness and our corresponding agential capacities. Needless to say, the argument is designed to make the agential approach to direct perception less unintuitive. The second point is made with the same aim, but proceeds from the opposite side. That is, I argue briefly for the inadequacy of the sense-datum conception of visual perception (the source of virtually everyone's "pre-theoretical" intuitions, regardless of their theoretical commitments). And I do so on phenomenological grounds.

此刻，无论如何，我需要集中在感知上，指出三点。1、关于感知和行为之间的密切关联，这包含一个被设计的论证，以指明在'我们有意识地感知'和'我们有意识地agential能力'之间不存在逻辑或概念上地gap，而无需说，这个被设计的'直接感知的agential进路'的论证更少非直观。2、同样的目的，但起点反过来，即，我简单论证了视觉感知的感觉材料概念的不充足（事实上每个人的前理论直观的源头，无论有何种理论承诺），我做这个基于现象学基础。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。