美学

Four peripheries of aesthetics of music are as follows:(1) the cultural background of the time under which musical beauty exists;(2) the traditions about aesthetics of music, namely diachronic experiences in clinique of music;(3) aesthetic experiences jointly owned or shared by human beings; and (4) the effective association of aesthetics of music with the value system of the society as a whole.

内容提要：音乐美学研究的中心是对现代音乐美存在与之所以存在的积极接受，它的第一道边界是音乐美存在的当下文化背景，第二道边界是音乐美学传统即历时的临响经验，第三道边界是人类共同的审美经验，第四道边界是音乐美学与整个社会价值系统的有效关联。

Four peripheries of aesthetics of music are as follows:(1) the cultural background of the time under which musical beauty exists;(2) the traditions about aesthetics of music, namely diachronic experiences in clinique of music;(3) aesthetic experiences jointly owned or shared by human beings; and (4) the effective association of aesthetics of music with the value system of the society as a whole.

杨赛内容提要：音乐美学研究的中心是对现代音乐美存在与之所以存在的积极接受，它的第一道边界是音乐美存在的当下文化背景，第二道边界是音乐美学传统即历时的临响经验，第三道边界是人类共同的审美经验，第四道边界是音乐美学与整个社会价值系统的有效关联。

There were also real herotic comedies and extolled comedies,the sad in the happy,and the happy in the sad,there was aesthetics style in the tragicomedies,it was a group of people with the aid of characters from the plays to give vent to their sad feelings,it was a art shape of dramatists who were at the bottom of the society at that time,those were the impacted sparks of the dassic.

从戏剧美学的角度观照，元杂剧三国戏中有典型的英雄悲剧，也有真正的英雄喜剧与歌颂喜剧，并且能悲中寓喜，喜中有悲，具有悲喜交集的美学风格，这是那个时代士人群体沉郁苦闷的人生悲剧借助历史人物的心理宣泄，是元剧家们在沉入社会下层的人生境遇中所吸取的民间三国故事中孕含的富有理想色彩的乐观主义精神的艺术投影，是经典文化与大众文化相碰撞的火花在元代文化土壤结出的艺术果实，这种美学风格大大扩展了元代三国戏的审美张力，也增加了其文化意蕴与审美价值。

The Disseminating of western aesthetical trend in China originated from the spreading of culture by the priests; developed by Chinese intellectuals' initiative translation of western psychology, educational psychology and philosophy; thrived by Chinese intellectuals' great translation of the outstanding aesthetes' ideal and wrote aesthetical books by themselves.

西方美学思想在近现代中国的译介始于西方传教士的向中国传播西方文化的活动，发展于中国知识者对西方心理学、教育学、哲学思想的主动译介，兴盛于中国知识界大量而系统地译介著名西方美学家的美学思想，以及中国美学家写出的一系列自成理论体系的美学论著。

According to my opinion, the aesthetic ideology on the manuscript about economics and philosophy in 1844 is based on man's problem by Mars ,which obviously contains Feuerbach's human-centerd thinking, at the same time has new concents.

1844年经济学哲学手稿》并不是严格意义上的美学著作，但是它又提出大量的美学问题，人们也通常认为它是马克思美学思想的发源地。

Ernest August Gutt has been engaged in this domain and made great achievements.A systematic research on Gutt"s translation theory clarifies some misunderstandings concerning this theory, disclosing its true nature and exploring its explanatory power to translation practice. Furthermore this thesis probes into the application of Gutt"s theory to literary translation, pointing out that Gutt fails to realize the important role that non-formal aesthetic markers, such as tone and feeling, play in transferring aesthetic values in literary translation, though he lays much emphasis on the transference of formal aesthetic markers. Attempts have been made to amend Gutt"s theory in respect of transferring aesthetic values of literary work by means of "non-formal aesthetic markers, with the aim of making it more suitable for literary translation between Chinese and English.

本文简述了关联理论的基本内容，对恩斯特·奥古斯特·格特根据关联理论建立的关联翻译理论作了较为全面、系统的研究；梳理、分析了译界对它的研究情况和接受情况，澄清了译界对关联翻译理论的种种错误认识；探讨了该理论对翻译现象的强大解释力；最后对格特理论在汉英文学翻译实践中的局限性进行了有益探索，指出了格特理论在文学作品的美学价值的再现上存在不足：格特忽视了美的非形式特征在文学作品的美学价值的再现上所起的重要作用；并结合自己的翻泽研究和实践，从美的形式特征和非形式特征两个方面，用具体译例阐释了文学翻译如何再现原作美学价值的问题，力求使该理论更适合于汉英文学翻译。

Comparing the development process of the Occident bridge aesthetics with the modern and current history of the architecture abroad, it can be seen that the influences of the architecture trends have played an important role that cannot be neglected at each stage of the development of the bridge aesthetics and have pushed forward the development of the bridge aesthetics in varying degrees.

将欧美桥梁美学的发展进程与国外近、现代建筑史相对照，可以发现在桥梁美学发展的各个阶段中，建筑思潮的影响起着不容忽视的作用，并在不同程度上促进着桥梁美学的发展。

It was no doubt to raise the position of art and provided pre-experience for establishment of art's spirit in China.

这无疑提高了艺术的地位，为日后中国建立独立的艺术精神提供了先验；在美学术语上，王国维由传统术语经由阐释而转为现代性和由西方引入美学术语这两条途径，提出大量的现代美学术语，并且在他的文章中加以应用，这不能不说是现代性的一个表现。

Nietzsche thought that we should re-estimate the meaning of beauty and art for human life from the view of body-life. He thought that this should be the task of a new subject:physiology of aesthetics.

尼采的美学生理学可分为三个方面，第一个方面是研究美和艺术对于生命，对于肉体的意义；第二个方面是研究个体的生命状态对于创造艺术和美，以及欣赏艺术和美之间的关系，将肉体的生理反应与审美过程结合在一起，把艺术归结为对肉体和感官的暗示；第三个方面是对美学这门学科自身的生命状态问题的反思，要求建立&强力美学&。

From the original point of Western Marxism political aesthetics, namely Schiller\'s "Letters on the Aesthetic Education of Man", section one explores into the influences of Schiller\'s aesthetics upon the Critical Theory and Practical Aesthetics.

第一节将席勒的《审美教育书简》作为西方马克思主义政治美学的理论原点，探讨席勒的美学思想对批判理论与实践美学的影响。

This one mode pays close attention to network credence foundation of the businessman very much.

这一模式非常关注商人的网络信用基础。

Cell morphology of bacterial ghost of Pasteurella multocida was observed by scanning electron microscopy and inactivation ratio was estimated by CFU analysi.

扫描电镜观察多杀性巴氏杆菌细菌幽灵和菌落形成单位评价遗传灭活率。