美学的

Since 50's, Japan designed boundary's modernism to Europe and America design to carry on history of, overall reviewing and understanding, Japanese reasonableness of design esthetics and the composing doctrine of Europe esthetics of is a nice bit of similar of place, therefore, Japan of designer, especially flat surface designer to the composing doctrine feeling have a clock only.

从50 年代开始，日本设计界对欧美的现代主义设计进行了历史的、全面的审阅和了解，日本理性的设计美学与欧洲的构成主义美学之间有相当多的类似之处，因此，日本的设计家，特别是平面设计家对构成主义情有独钟。

Nowdays, on one side, modernity is becoming an important aesthetics principle of the playwright who wants to express the thought of reality as well as explaining the history. On the other side, It is becoming another important aesthetics principle of audience who are interested in viewing the play because they find the same feeling between the chronicle play and the real society.

现今，当代性一方面成为历史剧创作者的一个重要的美学原则―剧作家在对历史的阐述中表达对现实的思考；另一方面也成为观众对历史剧欣赏的一个重要的美学标准―观众往往因为在历史剧中发现与现实的相通之处而增加观赏的兴趣。

Aesthetic ideas during the booming time of Italian Renaissance are represented by Leonardo da Vinci, Michelangelo Bounaroti and Raffaello Sanzo, who have shown great personalities in their artistic creation, thoughtful inspiration and wisdom triggered by their idea clashes, and whose creative achievements and aesthetics have laid the foundation for the modern artistic forms in Europe.

16世纪是意大利文艺复兴的盛期，这一时期的标志性艺术是绘画、雕塑和建筑，而艺术方面的美学思想的代表则是达·芬奇、米开朗基罗和拉斐尔。他们的美学思想都是从实践经验中总结出来的，具有很强的实证性和科学性。这三个巨人都是个人主义，他们各自在艺术创造上都表现出极强

The article is based on the consumptive culture and aesthetic theory. It studies the literature and art since the 1990s and analyses the literary aesthetic characteristics in the domain of consumptive culture.The aesthetic rationality of daily taste mode, lure randan style and style in patch-up...

论文以消费主义文化及其美学特征为学理依托，以中国90年代以来的文学艺术为研究对象，分析在消费主义文化语境中的文艺审美特征——日常审美方式，欲望狂欢风格，时尚拼贴文本的"美学合理性"，及其人性诉求的弱化，文明价值底线的失守，艺术审美自律的缺失的"功能悖论"。

The first is practicability: we must work hard to form our own ethic-aesthetic in every daily affair. The second is openness: there is enough and necessary act space instead of rigid rules to comply with.

福柯的伦理学—美学给我们的启示是：实践性：在每一桩微小的生活事务中，我们必须靠自己的艰苦劳作来书写自己的伦理学—美学，塑造"为我"的存在；开放性：它没有提供固定可依的规则章程，而是给每个人留有充足而必要的行动空间。

The unreal elusive background of the picture provided a more abundant space for these disorder brushworks of colors, thus these flowers appeared more energetic here.

刘炜对自然物象的这种模糊混沌中凸现生命张力的方法颠覆了传统美学对客观自然的关照，也是对观众建立在传统美学基础上的审美习性的解构。

Although the collection used the sort of new textile technology that many i-wear designers were interested in ,the aesthetic was widely different from the hoods and pollution masks and the defensive urban camouflage that echoed the muted colours of the city streets of much i-wear.22 Watanabe's designs eschewed the modernist aesthetic in which garments are engineered to suit a purpose; rather ,he combined ideas and functions poetically to make a waterproof dress decorative ,elegant and frilly, more Audrey Hepburn that urban warrior-indicating, perhaps ,away out of the impasse of modernist design aesthetics that continued to fetishise the new.

虽然收集利用排序纺织新技术，许多一磨损的设计者则有兴趣，审美被广泛有别于头套和污染口罩和防御城市迷彩表示赞同平淡色彩的城市街头我十分- wear.22渡边先生的设计风格，现代主义美学，其中服装设计，以适应一个目的，而是结合他的想法和诗意的职能作防水服装，装饰，典雅和frilly ，更奥德丽赫伯恩市区武士-这表明，也许离走出僵局的现代设计美学认为继续fetishise新。

By taking body-life as the criterion to re-estimate all value,Nietzsche overturned the whole western system of metaphysics,and called in question western speculative aesthetics.

尼采以&肉体——生命&为尺度重估一切价值，颠覆了西方的整个形而上学体系，也对西方的思辨美学提出了质疑，尼采主张应从&肉体——生命&的角度重新研究美和艺术对于人生的意义，尼采认为承担这一研究的学科应当是美学生理学。

At last, the paper point out the Aesthetics' meaning is that it reflects human' s living state, it' s not only a catharsis of sensibility, but also an overstep to the true-life.

最后本文指出暴力美学电影的美学意蕴在于它折射了人的生存状态；是一种情感的宣泄；更是一种对现实的超越，从而得到精神的自由。

Through the post-modernist's important representatives, KateFeng, the ancient special "Slaughterhouse Five" analysis, we can see the fiction of traditional aesthetic values conducted a thorough subversion, show a strong post-modern aesthetic characteristics, That is, black humor and deep Xiaoping model.

通过对后现代主义的重要代表，凯特冯内古特的《五号屠场》的分析，我们可以看出该小说对传统美学价值进行了彻底的颠覆，显示了强烈的后现代美学特征，即黑色幽默和削平深层模式。

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。