至上主义

Is it time now for our entertainment and media to lend themselves finally as they ought to, to serve as constructive tools to ingrain in the heart and soul of the masses that wastefulness and cancerous consumerism triggered by Capitalism's at times over-excessive advertizement system of induced materialism will need to be curbed within the limits and boundaries befitting of the station of humanity and conducive to a balanced and equitable system of wealth creation and sustainable world development.

是时候让娱乐和媒体发挥他们应有的作用了。媒体要以建设性工具的形象植根于民众的脑海。在这个广告泛滥，物质主义盛行的资本主义时代，民众形成了过度浪费和日益严重的消费至上主义。媒体应该将其控制在一定的限度内，以达到有利于人道主义精神，公平公正的社会财富创造体系和世界的可持续发展的目的。

Is it time now for our entertainment and media tolend themselves finally as they ought to, to serve as constructivetools to ingrain in the heart and soul of the masses thatwastefulness and cancerous consumerism triggered byCapitalism ' s at times over-excessive advertizement system ofinduced materialism will need to be curbed within the limits andboundaries befitting of the station of humanity and conducive to abalanced and equitable system of wealth creation and sustainableworld development.

是时候让娱乐和媒体发挥他们应有的作用了。媒体要以建设性工具的形象植根于民众的脑海。在这个广告泛滥，物质主义盛行的资本主义时代，民众形成了过度浪费和日益严重的消费至上主义。媒体应该将其控制在一定的限度内，以达到有利于人道主义精神，公平公正的社会财富创造体系和世界的可持续发展的目的。

Another sign of the times was the anarchy mingled with governmentalism .

那个时期的另一特点是无政府主义混入了政府至上主义之中。

TEXT C Medical consumerism -- like all sorts of consumerism,only more menacingly -- is designed to be unsatisfying.

医疗上的用户至上主义（和所有其他的用户至上一样，但却是更加具有危害性）注定是不能满足人们需求的。

Hegel's perspective of the world history, like his philosophy, bears with it wholism, mentalism and mysticism.

黑格尔的世界历史观同他的哲学思想是一致的，具有整体主义、精神至上主义和神秘主义的特点。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的"表现"观念的历史考察着手，归纳出西方现代"表现"观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在"表现"观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的"否定性物象"来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

Based on the analysis of Japanese architect Kazuyo Sejima and Nishizawa Ryue's the classical work,has explained the design concept,the connection of expression means and Malevich's suprematism works,explained what means"creating without entities",expressed the doctrine complex in the design.

通过分析日本建筑师妹岛和世与西泽立卫的经典作品，阐释了其设计理念、表现手法与马列维奇至上主义作品的联系，解读了何谓"无物象的创造"，表达出二者设计过程中的至上主义情结。

Based on the analysis of Japanese architect Kazuyo Sejima and Nishizawa Ryue's the classical work,has explained the design concept,the connection of expression means and Malevich's suprematism works,explained what means"creating without entities",expressed the doctrine complex in the design.

通过分析日本建筑师妹岛和世与西泽立卫的经典作品，阐释了其设计理念、表现手法与马列维奇至上主义作品的联系，解读了何谓&无物象的创造&，表达出二者设计过程中的至上主义情结。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的&表现&观念的历史考察着手，归纳出西方现代&表现&观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在&表现&观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的&否定性物象&来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

Cohen, the founder and foremost representative of the School of Analytic Marxism, argues that the principle of self-ownership is a doctrine of libertarianism, and Marx understands it the way libertarians do.

分析的马克思主义学派的创立者和首要代表柯亨认为，自我所有原则是自由至上主义的一种主张，而马克思与自由至上主义者一样坚持了自我所有原则。

The absorption and distribution of chromium were studied in ryeusing nutrient culture technique and pot experiment.

采用不同浓度K2CrO4(0，0.4，0.8和1.2 mmol/L)的Hoagland营养液处理黑麦幼苗，测定铬在黑麦体内的亚细胞分布、铬化学形态及不同部位的积累。

By analyzing theory foundation of mathematical morphology in the digital image processing, researching morphology arithmetic of the binary Image, discussing two basic forms for the least structure element: dilation and erosion.

通过分析数学形态学在图像中的理论基础，研究二值图像的形态分析算法，探讨最小结构元素的两种基本形态：膨胀和腐蚀；分析了数学形态学复杂算法的基本原理，把数学形态学的部分并行处理理念引入到家实际应用中。