美学的

My paper firstly turns on the time of Kaogongji, puts it in axes-age and sums up the characters from our ancient art design which it starts from the analyzing of "Qi" and "Wu".So we can draw our research clue and orientation: manufacture whose core is "Li";And then we will make particularly aesthetic analyse about the text.We will make it clear about the realations between " Li" and "Qi", concept and res, taste and res , and my paper will tell of three part:conceptual design—age idea" s effect on Kaogongji" s taste;human design—human spirit in Kaogongji" s art design;imitate design—accouterment" s taste of Kaogongji. In the text ,I will also tell of the following problems:Li and Kaogongji" s design idea, like-six idea and Kaogongji" s taste ideal, nature-human and Kaogongji s zoology idea.

本论文首先切入《考工记》的时间定位问题，把它放在轴心时代的大背景下，之后从"器"和"物"二字的文字学分析出发，对我国古代艺术设计的总体特征进行了概括，进而以此背景审视《考工记》一书的工艺美学思想，确定本文对该书的研究思路和定位，即以"礼"为核心的器物制造；然后具体进入文本进行细致的美学视角的分析，为廓清"礼"与"器"、观念与器物、审美风尚与器物等关系理顺思路，论文分别从观念化设计——时代观念对《考工记》审美取向的影响、人机化设计——《考工记》艺术设计的人文精神、仿生设计——《考工记》中装饰物的审美追求这三个大方面进行研究，涉及到礼制文化与《考工记》的审美设计理念、"尚六意识"与《考工记》的审美理想、"天人合一"与《考工记》的审美生态观等诸多问题。

Viewed in the field of vision and paradigm of modernity, Fichte is a philosopher whose rich and profound ideas on aesthetics show great originality. His major propositions and tenets about aesthetic modernity, such as those about the relations between beauty and culture, art and technique, art and public life, art and science, art and philosophy, art and morality and art and love, as well as those about the self-discipline and sacredness of art and about art and the progress of human society, are innovative and profound, and have exerted a far-reaching influence on modern aesthetics.

在现代性的视域和范式中理解费希特，费希特有着丰富而深刻的原创性美学思想，他关于美与文化的关系、艺术与技艺的关系、艺术与公共生活的关系、艺术与科学的关系、艺术与哲学的关系、艺术与道德的关系、艺术与爱的关系、艺术的自律、艺术的神性、艺术与人类进步等审美现代性的重要原理和命题具有独创的思想深刻性，并对当代美学产生了深远影响。

La Mer' reflected China classical aesthetic ideology, especially the aesthetic ideology consistency that China ancient scholars and painters reflected on the performance of natural landscape ,which was 'harmony between the heaven and human ','Sound outside what the string is making between the lines ' and 'approach determined by figure'. Its music reflected gamelan creative skills in many aspects,...更多 for example, the use of continuous tone and fixed voice type, the texture counterpoint imitation, the similarity of pitch and the harmony, etc. It could be seen that Debussy once studied Javanese gamelan music thoroughly on the analysis of 'La Mer' music ontology. Debussy choosed Japanese printer—Katsushika Hokusai's 'surfing in Kanagawa' as cover on the publication of 'La Mer', it was reflected that on the one hand he liked Japan Ukiyoe, on the other hand his work had painting factors.

大海》中体现了东方文化中的中国古典美学思想，尤其是与中国古代文人画家们在表现自然景观上所体现山的美学思想的一致性，即"天人和一"、"弦外之音"以及"以象立意"等；它在众多方面都体现山了加美兰的创作技巧，如持续音、固定音型的使用，织体对位的模仿，调式、和声的相似性等，在对《大海》音乐本体的分析中可以看出，德彪西对爪哇加美兰的音乐曾进行过深入的研究：作品出版时德彪西选择了日本版画家葛饰北斋的《神奈川冲浪里》作为封面，一是表现出他对日本浮世绘的浓厚兴趣，二是表达了他作品中具有的绘画性因素。

He argues that the essence of beauty lies in harmony and order. The origin of beauty comes from the preordination of God. Thereby he introduces the factor of purpose into his explanation of beauty in an attempt to establish a link between imagery and the rational realm. Starting from his theories of monads, he demonstrates the duality of esthetic sense, which is both clear and confused. His th...

他从单子论的"前定和谐"说出发，论证了美的本质在和谐、秩序，而美的本源来自上帝预先安排，从而将目的因引入对美的解释中，试图在可感形象与理性世界之间建立联系；同时又从单子论的认识论出发，阐述了美感属于既明白又混乱的认识，是一种"混乱的知觉"，具有知其然而不知其所以然、令人愉悦却不涉功利的特点，从而确立了美学在认识论体系中的地位，对鲍姆加登和康德的美学产生了直接影响。

Accepting the aesthetic thought of Kant and Schiller, and Heidegger\'s artistic truth view, Marcuse points out in sensibility and morals, i.e. during people\'s the two poles present," the aesthetic dimension " is occupying the status of centre, as the soul ability of person practicing, imagine strength having function mediated and liberated to perception and reason; Aesthetic form, self-containment and truth are identical, art not merely has a function of ideology, have political latent energy criticized , denied even more, it strives for the individual\'s freedom and happiness; Aestheticsis the people\'s life style, therefore has proposed the theory of "not constraining life style", it make up one\'s mind bad smell look at latitude of "remember" emphatically really.

接受康德和席勒的美学思想，以及海德格尔的艺术真理观，马尔库塞指出在感性和道德性，即人的存在的两极之间，"审美之维"占据着中心地位，作为实践的人的心灵能力，想像力对感性和理性有着调和与解放的功能；审美的形式、自律和真理是一致的，艺术不仅具有意识形态的功能，更具有批判、否定的政治潜能，它争取个体的自由与幸福；美学是人的生存方式，"非压抑性生存方式"理论的确立意味着重视"回忆"的纬度。

The aberrance itself is a kind of active research, which not only lengthways reviews the developing state of television art but also breadthwise compare the aberrant relationships between traditional arts and television arts, in order to find out aesthetic rules. The comparative method I adopt accord with the subject, appropriate revealing the active research characteristic.

电视研究是一种动态的研究，国家政策、经济发展、技术革新等因素都影响着电视的传播，电视艺术生态在呈动态发展，电视艺术美学也如此，&变异&问题本身就是一种动态的研究，它从纵向考察电视艺术的发展状态，同时还通过横向比较各传统艺术与电视艺术之间的变异关系，最终寻找出电视艺术的美学规律，而我所采用的比较的方法与影响研究是很符合这个选题的，这恰恰显示出了动态研究的特性。

The swift and violent development of the modern science and technology makes western societies generally enter consumption society, The consumption society supports the goods going to aesthetic and aesthetic going to goods at the same time,all of this has created unprecedented democratic era of arts and aesthetics, on the other hand even enable the most important aesthetic target --Art ,suffering all kinds of economical bulling and losing elite characters and self-disciplining,especially because consumerism stresses the artistic works whether having symbol value ,whether using marketing technology,and whether concerning to economy reciprocate.The pop art have became the mainstream of the art form of our time.

现代科学技术的迅猛发展使西方社会普遍进入消费社会，消费社会同时支持商品的审美化与审美的商品化，这一方面创造了前所未有的艺术、审美之民主时代，另一方面也使最重要的审美对象——艺术，受尽经济霸权主义的欺凌而丧失了精英性与自律性，特别是消费主义讲究艺术商品对符号价值的追求、对营销技术的使用、对经济回报的关注，使得流行艺术成为时代艺术形式之主流，从前那个只关心艺术作品之艺术性的美学传统已经被既关注艺术性又关注消费性的&新美学原则&代替。

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。

By comparing their different dictions, sentence structures, translation techniques applied and different approaches in aesthetic reproduction, the paper intends to find out the merits and demerits of the two versions and the differing aesthetic effects they produce on th.

仅就一个场景的对白，比较两种译本在措辞、译句结构、人物个性化语言的凸显、翻译方法和技巧的运用方面的异同以及不同的翻译美学再现方式，使两种译本各自的优缺点和不同的翻译美学效应得以局部呈现。

By comparing their different dictions, sentence structures, translation techniques applied and different approaches in aesthetic reproduction, the paper intends to find out the merits and demerits of the two versions and the differing aesthetic effects they produce on the target audience.

仅就一个场景的对白，比较两种译本在措辞、译句结构、人物个性化语言的凸显、翻译方法和技巧的运用方面的异同以及不同的翻译美学再现方式，使两种译本各自的优缺点和不同的翻译美学效应得以局部呈现。

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。