纯粹

In common with(9) most people , few of whom are pure introverts or extroverts, you are most likely an ambivert.

很少人的性格是纯粹内向或纯粹外向的，和大多数人一样，你很可能是一个中向性格的人。

It is impossible to be entirely in pain or in happiness.

纯粹的快乐和纯粹的痛苦都是不存在的。

Theoretically, chanciness truth is closely related with spirit actuality, but there is no chanciness that can exceed a reality. Even though in the most pure creative state, the artist just uses a pure way to reflect his life memory. Zhong Xi's chanciness is not the purportless meditation.

从理论上说，偶然性的真实与精神的实在是密切关联的，但并不存在一个超越现实的偶然性，艺术家即使在最纯粹的创作状态中，也不过是以最纯粹的方式反映了他的生活记忆。

In the fourth chapter, I analyze and contrast many architectural cases in history and modern times which ellipse were applied to, and explore the ellipse"s development in historic sense. The fifth chapter investigates the dynamic relationship between geometry and architecture based on ellipse"s geometric character, and analyzes ellipse architecture"s characters in symbolism, dualism, diversity and unity these four facets. In the sixthchapter, taking ellipse architecture as examples, I try to explore the relationship between the more general geometry"s purity and architecture"s complexity, and build the foundation for future exploration of geometry"s purity.

第四章从历史和现代两个方面展开了大量对椭圆形式在建筑中应用的个案和实例的研究与对比，探讨了椭圆形式在历史上意义的变迁；第五章以椭圆的几何特性为立足点，研究了椭圆几何--建筑之间的动态关系，从标志性，二元对立，多样和统一四个方面分析了椭圆建筑的特点；第六章以椭圆建筑为例，尝试探讨了更一般的几何的纯粹性与建筑的复杂性的关系，对几何纯粹性意义的挖掘为进一步的研究提供基础；第七章采用了类型对比的研究方法，分析了安藤忠雄和库哈斯两位设计哲学截然不同的建筑师对椭圆形式的使用；另外，以位置关系为线索，将椭圆和其他的几何形式结合起来，总结了一般情况下几何的纯粹性对建筑复杂性的作用。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的"表现"观念的历史考察着手，归纳出西方现代"表现"观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在"表现"观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的"否定性物象"来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

From three aspects of the topic,space and form, this paper contracts the Purism and the Cubism,disproves the judgment of the Purism is a branch of the Cubism,and deems that the Purism represents Le Corbusier s World View and method and decides the quality of Le Corbusier s building work.

本文从主题、空间和形式三个方面对比了纯粹主义和立体主义，反驳了纯粹主义不过是立体主义的一个分支的论断，认为纯粹主义代表着柯布西耶的世界观和表达方法，决定了柯布西耶的建筑作品的质量。

Thisarticle tries to pursue the form factors for Modern architecture through theanalysis of pure what doctrine incline to for Purism expressing come outingdescribing, especially those designing excluding is with the esthetics factor.

"纯粹"在本文被理解为一种精神，通过对美学概念中"纯粹"的分析，以及在这种精神影响下的现代建筑所表现出来的纯粹主义倾向的描述，试图以一种新的视角去探讨"纯粹"这种思想意识对构成现代建筑形式方面的因素的影响。

The fundamental cause of the differences is that Ingarden is deeply influenced by Husserl who views the conscious activities as the intelligent ones, so the "pure intent object" is equal to intelligent object in Husserl's eyes; while Dufrenne is greatly affected by Merleau-Ponty who amends Husserl's pure consciousness and conseders it as pure aesthesia, so the so-called "pure aesthesia object" is a sensible object, Dufrenne commences criticizing against Ingarden and on the basis of that.

造成这种差异的根本原因在于，茵加登更深地受到胡塞尔纯粹理性意识的影响，把意识活动看作是智性活动，因而其所说的纯粹意向性对象就被杜夫海纳看作是智力对象；而杜夫海纳则更深地受到梅洛一庞蒂的影响，把胡塞尔的纯粹意识修正为纯粹知觉意识，因而其所说的纯粹知觉对象就是一个感性对象。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的&表现&观念的历史考察着手，归纳出西方现代&表现&观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在&表现&观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的&否定性物象&来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

"Ontology" in the Chinese etymology means "the highest","the most fundamental","the most popular" and "the most important". Although it is a loan word, it has great difference from the oringinal meaning of ontology when translated into Chiness and has abvously "transferred meaning". If the "original meaning" of ontology is a "transcendental" purely logic stipulation" and a unique morphology of "the Western Philosophy", a field of idea world, absolute spirit, pure reason which is isolated from the experience world or prio to the experience world", and "a pure principle unable to be proven from the real world", then in Chiness,"ontology" has richer transferred meanings unparalleled with ontology in the West.

&本体&在中文词源里，有&最高&、&最根本&、&最普遍&、&最重要&等含义；本体论虽然是外来词，但翻译为中文后，与原来的ontology已经有了很大的区别，产生了明显的&转义&：如果说ontology的&本义&是一种&是论&或&存在论&，是一种超验的&纯粹的逻辑规定性&，是&西方哲学特有的一种形态&，是&与经验世界隔绝或者先于经验世界的理念世界、绝对精神、纯粹理性的领域&，是&不能从现实世界得到验证的纯粹的原理&，是比一切其他哲学思维都更纯正的&第一哲学&的话，那么在中国的&水土&上，&本体论&已经具有了比西方的ontology丰富得无可比拟的&转义&。

Plunder melds and run with this jewel!

掠夺melds和运行与此宝石！

My dream is to be a crazy growing tree and extend at the edge between the city and the forest.

此刻，也许正是在通往天国的路上，我体验着这白色的晕旋。