美学的

"Beauty is life" is the main content of Chernychevsky's aesthetics, while ZHOU Yang was the advocator and promoter of Chernychevsky's aesthetics in China.

"美是生活"是车尔尼雪夫斯基美学的核心内容，周扬是车尔尼雪夫斯基美学在中国的接受者和推行者。

Shopenhauer is an important Western aesthetician in the period of transition from the ancient to the modern times, while Wang Guowei is the founding father of modern aesthetics in China.

叔本华是西方美学由古代向现代转型中一位重要的美学家，王国维则是中国近代美学的奠基人。

The thesis studies the transitional space Between inside and outside of country building at the angle of architectural designable esthetics, and starts from analyzing the national building in Yunnan.

本论文从建筑美学和设计美学的角度，从剖析云南民居室内外过渡空间入手，对乡土民居室内外过渡空间进行初步探析。

Under the influence British empirical of aesthetics, Immanuel Kant established aesthetic disinterestedness as an aesthetic principle.

在英国经验派美学的影响下，康德将"审美无利害"确立为一种美学原则。

The second part conveys the effect of method of empiricist aesthetics upon the western aesthetics of the 20〓 century.

第二节考察了经验主义美学方法对20世纪西方美学的影响。

The second part studies the relation between empiricist aesthetics and philosophic aesthetics.

第二节深入思考经验美学和思辩美学的关系。

Foucault's viewpoint of the aesthetics of existence, and try to find the inspirations for curriculum aesthetics.

目的是希望从傅柯的生存美学观点中，找出对课程美学的启示。

From the aspects of cultural typology and the practice of ethnic groups' taste,the model of Chinese ethnic group's aesthetic taste could be divided into nomadic model,agricultural model and herring pond model.

中国少数民族美学是民族学和美学的交叉学科。

In point out their similarity, the thesis also differentiates and analyzes the specialty of Wang Guo-wei and Zhu Guang-qian"s theories of tragedy. The author argues that both Wang and Zhu"s theories, which based on communicating western and Chinese aesthetics, show the irreplaceable as well as complimentarily features. They enriched the modern Chinese literature and aesthetic leanings together, and provide us a profound enlighten to review and conclude the experiences of Chinese aesthetic modernity.

在指出王、朱悲剧理论所具的类同性的同时，本文同时辨析两者的差异性特点，认为两人在融合、沟通中西美学的基础上产生的悲剧理论既有不可取代的特色，又具有互补性，共同丰富了中国现代文艺美学理论，为我们反思和总结中国现代美学形成和发展中的所得和所失提供了有益的启示。

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 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。