美学的

It is no coincidence that Chow's rise to fame synchronizes with the boom of the net culture of China.

本文从跨艺术的角度，探讨艺术媒介的转换在《大话西游》的接受中的美学、文化和政治意义，以视觉性的理论来挖掘"变形"这个概念的历史文化和美学意义，以及与媒介转换之间的关联。

Wang Yidong pushed the purity and the fresh artistic conception to extreme with his treatment of the composition, the colors and the gesture of the figure in this painting, presenting his understanding to beauty and art. The unique characteristic of Wang Yidong's realistic works lied in that he narrated accurately the beauty nature inborn in inornate context, which had been given up by other modern artists.

王沂东的写实主义风格之所以在张扬的现代画坛能够独树一帜，就在於他以自己的艺术形式语言挖掘到了朴素的语境中内在美的价值，这原本曾经是被人忽视的，或者是别人曾经尝试，却半途而废的美学实践；但王沂东坚持了下来，并且在创作中将这种写实主义的美学实践进行了升华。

In the point of view of Chinese aesthetics, contingency is defined as a way of thinking in which the subjects in artistic creation have theaesthetic image suddenly and not intendedly, which is led by the changes of outside world and arouses emotion and creative impulse of the subjects.

从中国美学角度来看，偶然指艺术创造主体赖以激发审美情感、创＿作冲动，并在不经意间形成审美意象的一种突发性的思维方式，是以客观外物的变化触失主体情感为前提条件的。对于偶然性创作契机的发生机制，中国古代美学是从审美主客体的触遍感发的思路来阐释的，这就是审美感兴论的传统。

Johann Christoph Friedrich Schiller is the famous dramatist and esthetician in German classical period. His esthetical idea assimilates the essence of Kantism and removes the inefficiency as well, so as to form his particular aesthetic conceptions. In his idea, aesthetic is not far away from every common person's reach but to perfectly melt into the human and to radiate its glamour.

约翰·克里斯托夫·弗德里希·席勒作为德国古典时期著名的剧作家、美学家，他的美学理念汲取了康德美学理论的精华，又对其弊端进行了大胆地扬弃，形成了独特的审美观，使美不再高居在神圣不可攀的庙堂之上，而走向了凡世间的每一个人，与人性完美地融合在一起，闪耀出最美丽的光辉。

His work is specified as the dialectic tuning of Hegel's mentalistic objective perversions, and at the mean time, he stresses on Hegel's theoretical values, making use of the essence of Hegel's authentic descriptions.

王元化对黑格尔美学思想的研究是一种创造性的学术劳动，具体体现在，他运用唯物主义的思想方法把黑格尔从其客观唯心主义出发颠倒的东西颠倒过来，同时，剥离出黑格尔美学思想中&作出把握事物本身的真实的叙述&的成分，肯定它的理论价值。

As an aesthetic category, game is, no doubt, very important in its relations with many basic questions. So far as its many manifestations as shown in different theoretical systems are concerned, game, as a category, is vague in form; it is often used as a tool to explain theories and it is characterized by its metaphoricalness when elaborating.

作为美学范畴，就其与美学研究中的许多重要问题的关系来看，它无疑是十分重要的；可就其自身在不同理论话语体系中所呈现的迥然各异的表现形态而言，&游戏&范畴具有形态上的模糊性，说明理论问题的工具性，以及阐述问题时具有的隐喻性的特点。

A believe that as time goes, people will find it more and more important, and tragicomedy, the great form of aesthetic experience, will play the same role as tragedy and comedy in the museum of imaginetion of human art.

它的历史与现状、动因与根源、本质和品性，以及它在戏剧美学中所处的特殊地位，充分说明作为一种戏剧美学样式，它的生命力是强大的。随着社会的进步和文明的进化，悲喜剧终将得到人们的高度重视，与悲剧和喜剧形成三分天下的鼎立格局。

In traditional vision,"Body" was covered or reigned by so called idea, spirit, etc. Nowadays,"Body" began to be regarded as an" untorn body- soul entire" which body itself acquire independent aesthetic value. This paper will explore the" aesthetic history of Body "from three perspectives:"Body" as the objective;"Body" as the subjective of aesthetic experience;"Body" as the art creator. Some psychics extheticians, existentialism philosophers and phenomenology scholars discussed "Body" issue profoundly and subversively.

作为审美客体，随着对身体耻感的剥离，人类基于身体自我欣赏的自恋得到正名；作为审美体验者，身体从形而上美学谱系中精神往下流溢、理念获得分享的&美的末端&，被理解成审美体验活动的&第一人口&；作为审美创造者，身体也走出了传统美学中的缺席状态，身体的活力被视为审美创造的&第一推动力&，创造者的&身体状态&同时也被视为&情感状态&、&心理状态&。

Because the category of game has different meanings and characteristics in different theoretical systems, the concept anthropomorphizes and has mental symbolic sense. During the whole modern times, as post-modern aesthetics fights against the traditional metaphysic theories, the changes and development of the category of game are revealed. In its theoretical pursuit, the theory of game shows its deep caring and attention to human beings.

游戏&在不同的理论体系中呈现出其意义的不同层面，使得&游戏&具有了人格化的精神隐喻意义；而在整个近现代、后现代美学对传统形而上学的不懈反抗的历程中，&游戏&范畴发展和变化的内在逻辑得以显露，同时，&游戏范畴自身的理论追求也体现了美学研究中所蕴涵的深沉的人文关怀。

While art,social life and crafts are also not simply the matters in existence,theycontain and confirm the whole contents and characteristics of aesthetic ideology.Thetwo are integrated,not devoiced or contradictory,and only under this prerequisite,can the aesthetic ideology study realize the unity of logic and history,as well as theunity of theory and practice.

艺术及社会生活、工艺也不是一种单纯的物质存在，而是包含着、印证着美学思想的全部内容和特质，二者是统一的，而不是分离的、或矛盾的，也只有做到二者结合与统一，美学思想史的研究才能达到逻辑与历史、理论与实践的统一。

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。