表象的

In You Jin's work, Chaotic Code include the following meanings: first, color, light and lines are the main language characteristics, and the precise, ordered and mechanical depicting techniques stand out the random order and weaken traditional pictorial expression; second, in objective representation of images, garbled symbols emphasize a certain unreal sense of subjective construction with the representation of transient images; third, the atmosphere of the picture represents sublimation and ballyhack, bustling, calm and gloomy, which emphasizes the stimulation of visual sense; fourth, the subject of chaotic code indicates floweriness, change, and grotesque idea, implying that the hidden trouble of danger, horror, unsteadiness and peril potentially exists in the rapid developments of current society and the advancement of technical information.

看由金的作品，"乱码"包含了以下意义：一，在语言特征上，以色彩、光、线为主，以严谨、有序、机械的刻画手法，呈现乱中有序的特点，削弱了传统绘画性表现；二，在表现物象上，以虚幻的影像呈现，强调一种主观营造的非现实感觉；三，画面氛围，呈现着绚丽繁华、冷静沉郁、升华毁灭的氛围，强调视觉感官的刺激；四，表达主题，营造一种绚丽繁华、瞬息万变、光怪陆离的表象，暗示当代社会的快速发展及科技资讯的发达，潜在地存在着危险、恐怖、不稳定、不安全等的隐患。

With the objective camera, the 6th generation film-makers expressed the unexpressive things through the ideas themselves, which showed a kind of post-modern spirit: an ideal time had passed and the new generation advocated the difference, freedom, multi-polarization and tolerance as this wasa world of the commoners in which people had no dreams but the innumerous spiritual debris drifting in the river of time.

第六代电影人的用客观的电影镜头，以表象自身的形式使不可表现之物表现出来，显示出一种后现代主义精神：一个理想主义的时代已经过去，新的一代推崇的是差异、自由、多元、宽容的生命态度，这是一个凡人的世界，凡人的生活没有梦想，只有漂流于时间之河的无数精神碎片。

In You Jin's work, Chaotic Code include the following meanings: first, color, light and lines are the main language characteristics, and the precise, ordered and mechanical depicting techniques stand out the random order and weaken traditional pictorial expression; second, in objective representation of images, garbled symbols emphasize a certain unreal sense of subjective construction with the representation of transient images; third, the atmosphere of the picture represents sublimation and ballyhack, bustling, calm and gloomy, which emphasizes the stimulation of visual sense; fourth, the subject of chaotic code indicates floweriness, change, and grotesque idea, implying that the hidden trouble of danger, horror, unsteadiness and peril potentially exists in the rapid developments of current society and the advancement of technical information.

看由金的作品，&乱码&包含了以下意义：一，在语言特征上，以色彩、光、线为主，以严谨、有序、机械的刻画手法，呈现乱中有序的特点，削弱了传统绘画性表现；二，在表现物象上，以虚幻的影像呈现，强调一种主观营造的非现实感觉；三，画面氛围，呈现着绚丽繁华、冷静沉郁、升华毁灭的氛围，强调视觉感官的刺激；四，表达主题，营造一种绚丽繁华、瞬息万变、光怪陆离的表象，暗示当代社会的快速发展及科技资讯的发达，潜在地存在着危险、恐怖、不稳定、不安全等的隐患。

On condition that,"the absurd man"s" life is to make the absurdity to be, by protest he made the fate within his mastery. He tried to best shade the possibility about the indispensable death in a passionate way, and veiled the truth of homelessness by lots of things on hand. Then,"the stranger made use of sight of Zu-sein to Sein Zum Tode continually. He discovered atman in the kinds of possibility of Existenz. He was not satisfied with reality when he was abandoned. Instead, he disregarded all of that and admitted his destiny.

如果说&荒诞人&的生活就是使荒诞活着，他用反抗的方式将命运变成人事，用激情的方式试图蒙蔽人死亡的确定可能性，并在不断地操劳和表象中掩盖自己在生存中无家可归的事实；那么&局外人&的方式就是不断用先行到死的眼光&去存在&，在生存的可能性中不断揭示自我的存在，他没有在被抛的状态中安于现状，而是采取漠视一切的方式遗立于世。

Itpossesses the following three characteristics:Thoroughness,based on pure"Ontology",which is characterized by non-objective thought and non-anthropological horizon,it bothexternally and internally transcends modernity;Constructiveness,the task of transcendingmodernity is not to advocate destructive post-modernity,which is in the condition of puretexts,like vacuum,but to re-construct lively"pre-modernity";Actuality,the practicality of thechannels of saving modernity——"thinking"and"poetizing"——determines the actuality ofhis critique.

此种批判具有三个特点：一、彻底性，即非表象性的思维与超人类中心主义的视域所构建的纯&存在&论外在而又内在地彻底超越了现代性；二、建设性，即超越现代性的后果不是倡导纯然破坏性、文本化的后现代性，而是在回归中重建积极的、活生生的&前现代性&；三、现实性，即拯救现代性、回归&前现代性&的途径——&诗意之思&、&思性的诗&——是实实在在地为人所秉有、运作与实现，这决定了他的批判蕴涵有深厚的现实意义。

Although family hegemony on region lied in a great measure on the amount of their possession quotient of regional social resources, inasmuch, the process of family promotion went always with the plunder of political、 economic and cultural and educational resources. However, when limited resources had been partitioned, and a stable force structure had formed, the big families would construct their existing place from culture and education、 economy、patronizing the younger generations 、striving more resources from outside and so on, to improve the relationship of family and region, furthermore, to provide harmonious condition for their development. What they had done composed "the redounding phenomenon", and this kind of redounding behavior had surely exerted notable effect for regional stability and development. It may be the real cause that how ancient Chinese family could control region social.

虽然能否在地方事务上享有支配权往往取决于家族所掌握的地域社会资源的份额，并也正因为如此，家族上行流动的过程总是伴随着对地域政治、经济、文教等方面资源的掠夺，但是，当有限的地域社会资源被崛起之族瓜分殆尽，并形成相对稳定的势力格局之后，为改善家族与地方的关系，为本家族营造宽松和谐的发展条件，家族一般又会转而从文教、经济和入仕队伍等方面建设地方，为所在地域整体争取更多外在资源，形成&回馈&的表象，且这种&回馈&亦的确在稳定地方、发展地方方面作用显著，而这也许正是中国古代家族组织能长期控制地域社会的根源所在。

According to tentative,if grass hand is a sort of process of movement that it was mastered by person,and was condensed on rice paper to show being'mood,well then how is it before wrote and after wrote?

根据假说，如果草书是人用毛笔把人的主观情绪用人的掌控毛笔的运动过程，从而凝固在宣纸上的线条来返照人的情绪的表象，那么书写前与书写后的空间与时间的位置上发生的变化到底是如何的呢？

Depending on the history of Zhuang , my thesis attempts to investigate the ethnic memory of Zhuang in an all-round way. The memory is very useful, because they contribute to forming the self-representation of the ethnicity. Have investigated the transmittance process in Zhuang society of ethnic memory in my thesis, which have offered comparatively rational exposition for history of Zhuang and current situation .

论文试图通过对壮族族群现存的为族群或族群中的大多数所共享的记忆形态的历史性考察，以壮族族群的起源、发展、形成与延续为背景，探讨在几千年的历史时空变幻中，壮族族群的集体记忆经历了怎样的传递过程，以及这一过程对族群的自我表象施加了怎样的影响，从而为壮族族群自我认同的历史现状提供较为合理的解释。

Not self-expressionist like slogans and unrelated to bitter wandering or self-exile, her painted works are filled with faint colors, vague images, gleaming lines and unconscious or occasional traces, which are separated from the hilarious reality and naked ideas with a big gap, being as if an old memory is flashing in one's mind.

她的作品不是口号式的自我表现，与苦涩的彷徨、自我放逐也没有关系。在她的作品中，幽微的淡淡色彩、暧昧模糊的形象，若隐若现的勾线，无意或偶然的痕迹，与热闹的现实以及赤裸裸的表象之间，隔着一个悠远的距离，仿佛一段浮现的记忆。

By metaphorically invoking the photographic terminology in the spirit of Bergsonian / Deleuzian time-movement interpretation as inspiration, the exhibition Timelapse in which a dozen artists from both Switzerland and China will participate, attempts to examine the fundamental constituent of digital media: the concept of time and its embodiment in space, its evocation of passage and memory, its movement of differentiation and its state of representation in diverse formal grammars to reveal the social implications of the fast in the disguise of the slow, the multiplicity in temporality and disparity in spatiality, both psychologically and geographically, stirring up a desire to scrutinize the nuances and ramifications in regards to the construct of cultural being in the disparate framework of time in distance and space in locality and the potential collapse of such time-space duality.

本次展览以柏格森以及德卢兹（ Deleuze，均为法国哲学家）有关时间－运动的解释为契机，含蓄地缓引&延时&这一摄影术语，在瑞士和中国两国艺术家的参与中，试图检验数字媒体的根本构成因数，及时间的概念以及其在空间中的体现，其对于过程和记忆的启示，其运动所产生的差异，以及其在运用形式语言时所呈现的不同表象，从而揭示被缓慢所遮掩的亟速之社会内蕴，其在时空中之心理与地理间的多样化和差异性，激起我们对于细察在不同的时空概念的框架下文化的构建，以及对于这种时空二元性之崩溃的可能性的欲念。

She gently rebuff ed him, but agreed that they could be friends

她婉言拒绝了，但同意作为朋友相处。

If in the penal farm, you were sure to be criticized.

要是在劳改农场，你等着挨绳子吧！