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This is a paper which studies Plato's aesthetics of music comprehensively, discussing his concept of music, the criterion of music judgment, the education of music, theatrocracy and aristocracy, involving every aspect of his music aesthetics.

摘 要:这是一篇全面研究柏拉图音乐美学的论文,讨论了他的音乐的概念、音乐判断的标准、音乐教育以及剧场政体和贵族政体,涉及了柏拉图音乐美学的各个方面。

This is a paper which studies Plato's aesthetics of music comprehensively, discussing his concept of music, the criterion of music judgment, the education of music, theatrocracy and aristocracy, involving every aspect of his music aesthetics.

本文章共10601字,分6页,当前第1页,快速翻页:摘要:这是一篇全面研究柏拉图音乐美学的论文,讨论了他的音乐的概念、音乐判断的标准、音乐教育以及剧场政体和贵族政体,涉及了柏拉图音乐美学的各个方面。

The formation of western classical metaphysical aesthetics is a dialectical movement of constituting aesthetic subject transcendently on the basis of soul conception, passing through "the theory of natural soul" in ancient Greece, Descartes's "doctrine of rational soul" and in Germany classical aesthetic the second comprehension on aesthetic subject with separate soul and flesh, opposite emotion and ration.

西方古典形而上美学的形成是在灵魂观念基础上对审美主体超验性建构的辩证运动过程。历经古希腊的&天赋灵魂&,笛卡尔的&理性灵魂&,德国古典美学灵肉分离、情理对立的审美主体的二次综合。

This article through explaining "Western Chamber" which evolves to the classics production by reorganizing the subject, by the cultural esthetical criticism method, excavates "the wall" image which polymerizes and inherits in the Chinese classical esthetic culture and inquires into the culture connotation which contains the humanity emotion demand;promulgates the cultural production mechanism and esthetics value characteristic of the classical text;inspects the riddle of classical art which has eternal charm.

本文通过解读《西厢记》主题嬗变到经典生成的过程,运用文化美学的批评方法,发掘出了&墙&意象在中国古典审美文化中的传承聚合,探究其中蕴涵的人类情感需求这一思想文化意蕴,揭示经典文本的文化生成机制与美学价值特征,考察经典艺术的永恒魅力之谜。

This article through explaining "Western Chamber" which evolves to the classics production by reorganizing the subject, by the cultural esthetical criticism method, excavates "the wall" image which polymerizes and inherits in the Chinese classical esthetic culture and inquires into the culture connotation which contains the humanity emotion demand;promulgates the cultural productionmechanism and esthetics value characteristic of the classical text;inspects the riddle of classical art which has eternal charm

本文通过解读《西厢记》主题嬗变到经典生成的过程,运用文化美学的批评方法,发掘出了&墙&意象在中国古典审美文化中的传承聚合,探究其中蕴涵的人类情感需求这一思想文化意蕴,揭示经典文本的文化生成机制与美学价值特征,考察经典艺术的永恒魅力之谜。

A comparison of the aesthetics of Wang Guowei, the founder of China's 20th-century aesthetics, with the succeeding aesthetes will shed much light on the ups and downs of aesthetics in China, particularly on the gre...

把 2 0世纪中国美学的开山大师与其后的美学家比照,我们就会发现美学在中国发展中的起伏轨迹,尤其是非主流美学家命运的悲剧性,这种悲剧性是学科本身的必然的悲剧性

Andy Warhol had filled the space with piles of Brillo boxes, similar to if somewhat sturdier than those brashly stenciled cartons stacked in the storerooms of supermarkets wherever soap pads are sold.

但是,在我的经历中,没什么东西和对美学的这种普遍的讥评相抵触;假如我不曾在1964年去参观有人在纽约第74大街的&马厩画廊&搞的那次个人画展览的话,我肯定自己永远也不会混迹于美学当中。

The part stressed the strategies originated from local environment for hillside architectural group's ecological and intensive development, and taking the hot-humid area as the example, discussed the integration originality for morphological esthetics and ecological esthetics with the climate-responsive design idea, finally proposed"zero-touched to the earth"ecological idea based on the generalized ecological strategies and the vertical spatial expanding idea.

强调群体坡地建筑生态集约发展之缘地创意,并以湿热地区为例,探讨气候应变的形态美学与生态美学的整合创意,最后提出了基于广义的生态策略及竖向空间拓展理念的&零接地&的生态构思。

The suggestion that homelessness can be cool chimes with a fashion trend that many have considered tasteless: in January, the designer Vivienne Westwood presented a "homeless chic" show in which models were styled to look like rough sleepers, a move prefigured by Ben Stillers satirical film Zoolander, which featured a similar show called Derelicte.

这种&流浪美学&正应了某种曾被认为&乏味&的时尚趋势:今年一月,设计师 Vivienne Westwood 为人们献上了一场名为&流浪美学&的时装秀,在该秀中模特都被打扮成乱糟糟,睡眼惺忪的样子;而本?斯蒂勒主演的喜剧电影《 Zoolander 》中亦有一场名为 Derelicte 的类似的秀。

At the same time, with the re-recognition of the western modern aesthetics and classicism, the relationship among modernism, post-modernism as well as classicism is discussed. Their development and practical significance are treated dialectically.

并分析了这些若干现象及引发的困惑与迷茫的社会历史背景和原因,同时,通过对西方现代美学和中西古典美学的再认识,论述现代主义、后现代主义与古典主义美术在中国的紧张关系,辩证地看待它们在中国美术的发展及现实意义。

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