西方

Among these halls, the "Buddha Hall" demonstrates the artist's attempt most directly. In the Orient, artworks regarding religious themes usually will be presented with perfection and heavenliness, but such characteristics are not seen in Liu Dahong's work at all. Instead, the artist has calculatedly created chaos by placing parallel elements in his painting. Images of the frequently waged crusades in the history of the West, the horrifying witchcraft and the rigid statues of westerners have changed the Tibetan Buddha hall into a theater of the absurd. In the center an innocent girl struggling to get away from the stake is the most dramatic spectacle, and the giant, puppet-like Buddha along the people standing or sitting around constitute the scene of trial. In the backdrop, the landscapes and atrocities of wars often seen in western religious paintings are a keen contradiction to the people piously praying in the front. Their belief looks so hopeless.

佛堂是最具代表性的一件，在东方，宗教或描述宗教的艺术作品多倾向完美性和超世性的描写，但这些描写，在刘大鸿的佛堂中被完全破除，取代的是（刘大鸿此处以「置入」、「并列」为取代手法，达到了文本的交叉混乱，实为妙笔）西方宗教中频繁出现的宗教战争、巫术等负面形象，这些雕塑般的西方人物将西藏佛堂变化成荒诞舞台，画面中央一纯洁少女转身挣脱火刑的动作构成最强烈的力度焦点，众角色环状排列并点出审判的基本架构，且和背后如同宠物般拉扯的大佛形成呼应；佛堂后景重迭起西方宗教画内常见的风景描绘，黄土石间宗教战火连连，前景藏人和民众的诚心歌颂反而显出信仰的愚昧。

When concerned narration time, they predigested modern narration time of western novel to hyperbaton narration, and then focused on " the abrupt beginning", and never grasped the flexibility that western novel narration time can cut time according to expression requirements; when concerned the narration angle,"I" in the works of new-novel critics is only the thread to link the stories, and the works never cares about the idea and sensation of "I"; when concerned the narration framework, for the obstinacy of the tradition of Chinese novel preference in plot, it is the most difficult to take in.

在小说的叙事时间上，新小说家把西方小说的现代叙事时间简化成了倒装叙事，又把倒装叙事集中在"开局突兀"上，根本没有领会西方近代小说叙事时间根据表达需要进行剪辑的灵活性；在叙事角度上，"新小说"家作品中的"我"只是串连故事的线索，作品根本没有关注我心里的思想和情感；在叙事结构上，因为中国小说重情节传统的顽固性，对西方小说叙事结构的接受也最难。

The first part deals with the question of the 'West', as it is rehearsed again in the postcolonial discursive strategies. Here, the essay confronts the historical question of the West and to pinpoint understandable but unnecessary obsession with the question of the west, and then point towards the imaginary Asia as a possibility to shift its referent point.

第一部分首先处理长期存在的所谓「西方问题」，透过近期后殖民论述中面对西方的论述姿态及策略，点出向亚洲转向是偏执于批判西方的出路。

From a new perspective--individuals are limited by their own culture, but their inner capacity is also the only motivating force of the overall civilization, so the change of overall civilization always reflects the underlying change of cultural existential pattern of the individuals--the author contends that modernism is a spiritual-cultural phenomenon emerged in the mid-nineteenth century, that the faith in human rationality in modern western civilization destroyed all kinds of Supreme Authorities, made them lost their self-evident Supremacy; in other words, traditional evaluating principle and meaning became doubtful.

作者从一种新的视角——西方文化史上个体生存与即有精神文化的关系——出发，指出现代主义是产生于十九世纪中期以降西方文化中的一种精神文化现象，西方近代人文主义传统对人类理性的过分依赖导致所有绝对价值都失去了其自明性，成为人类理性探寻、怀疑的对象，导致个体生存与即有精神文化产生了严重断裂。

From the structure of the paper, the first part is the theory. Marx national theory and the Western countries intervener's theory, The second part is the practice of state intervention, Part III is divided into conclusions, By exploring, corporatizing analysis of the United States, Germany, Japan, the three developed and developing countries.To studying the market economic model of state intervention, that the conclusion is meaningful and valuable to the Theory and Practice of China's economic development, to the harmonious society and scientific and technological progress.

本文着重从以下几个部分来对国家干预理论与实践比较研究，从结构上分，第一部分为马克思与西方国家干预及我国国家干预理论，第二部分为国家干预实践，第三部分为结论，通过对马克思国家干预理论的主要内容的分析，得出马克思国家干预理论的特点；通过对西方国家干预理论的形成与发展分析得出西方主要经济学派国家干预理论的特点；通过探讨、比较分析美国、德国、日本三个发达国家与发展中国家干预市场经济模式得出研究国家干预理论与实践对我国经济建设、和谐社会发展和科技进步的意义和应用价值。

Nevertheless,due to the respect of the traditions of the West for the lin guistic norms and logical determinativeness,the word"being"has been raised to the height of the th ing -in -itself of the world and real substance and thereupon,it has got the dual meanings of"be"as a link verb and"exist"as a transitive verb,thus embodying the unity of the logos spirit and the nous spirit in the w.

西方哲学自古希腊以来的一个核心概念Being的原始含义固然是一个逻辑系词"是"，但由西方传统对语言规范及其逻辑确定性的尊重使这个词上升到了世界本体和真正实体的崇高地位，从而使它带上了系词"是"和动词"存在"的双重含义，体现了西方文化中逻各斯精神和努斯精神的统一，这是中国古代以农业为本的文化传统所难以理解的文化现象和语言现象。

The Western humanism Liberated the individuals from the shackles of bondage and the theocracy, and promoted the development of Western modernization. However, it's the value orientation of carnal desire and Mammonism also had the negative influence on West the civilization.

西方人文主义将人从人身依附和神权枷锁中解放出来，推动了西方现代化的发展，但其纵欲主义与拜金主义也给西方文明带来负面影响。

On the other hand, they usually use faulty analogy to study the logical thoughts in ancient China, and overlook the similarities and differences between the logical thoughts in ancient China and western logic. This means that the Chinese scholars, at the same time, have a monist conception of logic.

比附法在中国古代逻辑史领域曾有过巨大的历史贡献，但一味地坚持这种研究方法，或只注意到它的优点而忽视它的缺点，则无疑是把西方的逻辑学视为唯一的逻辑学，这是一元逻辑观；即以西方的逻辑学为参照物，又把西方的逻辑学视为一个平等的他者，也就是在研究中即注意中西逻辑学之相同的一面，又注意中西逻辑学之不同的一面，这是一种多元逻辑观。

The traditional concept that oversimplify the world cultures into the eastern and the western should be changed.

人们习惯地把世界文化简单地分为东、西两大板块，并形成一种刚性的研究模式，譬如东方哲学与西方哲学，东方文学与西方文学，东、西方宗教、文化等等。

Chapter three explores the significances of aesthetics and poeticshidden in the thought of Return to Remote Ancient of Taoist school,in light of western aesthetics and literary criticism,such as JeanJacques Rousseau,Giambattista Vico,Phenomenalism.

第三章是以西方文化、西方美学对道家复元古思想的"阐发研究"，把卢梭、维柯、现象学以及解构批评等西方思想与老庄并置互参，发掘道家复元古思想中所潜含的美学、诗学意义。

According to the clear water experiment, aeration performance of the new equipment is good with high total oxygen transfer coefficient and oxygen utilization ratio.

曝气设备的动力效率在叶轮转速为120rpm～150rpm时取得最大值，此时氧利用率和充氧能力也具有较高值。

The environmental stability of that world - including its crushing pressures and icy darkness - means that some of its most famous inhabitants have survived for eons as evolutionary throwbacks, their bodies undergoing little change.

稳定的海底环境─包括能把人压扁的压力和冰冷的黑暗─意谓海底某些最知名的栖居生物已以演化返祖的样态活了万世，形体几无变化。