诗意

His main object is art, for art is the object incarnate of the people's poetic intelligence.

对人类来说，只有诗意的生活才是他愿意过并且值得过的生活。

This poetic is expressed vividly and incisively in their works and each artist have his specialty.

这种诗意在他们每个人的作品中呈现的淋漓尽致且各具特色。

This poetic is expre ed vividly and incisively in their works and each artist have his ecialty.

这种诗意在他们每个人的作品中呈现的淋漓尽致且各具特色。

His type of beauty and his poetic ideal were indelibly impressed upon this charming school.

他的美和诗意不可抹灭的影响了这间迷人的学校。

Poetic feeling does not derive simply from the expression of the emotions nevertheless unbridled egotism, a form of infantilism, is difficult to avoid in the early stages of writing.

而诗意并非只来自抒情。

In the designs of time, emotion has very important functions. Along with the development of computer, network, digital and electronic technologies in 1990s, non-substance designing has became a leading trend. Computer has replaced paper and pencil to become the main instrument, also the software has turned into a part of design. More important thing is the designs of physical products commence to hanker for lyric-value, advocate the designs that can arouse poetic responses and focus on the non-substance services, technique and audio-visual feeling. Design subject has already speared the evaluative trend from applied material engineering, technical science and functions of products and other physical modality and value to intangibleness such as services, technique, culture, emotion, poetry and so on.

情感在当代设计中有极其重要的作用，90年代，随着电脑等电子技术和数码、网络技术的发展，非物质设计成为设计的一个主导倾向，不仅设计的工具从手绘工具变为电脑，软件成为设计的一部分，重要的是物质产品的设计也开始追求所谓的抒情价值，提倡"能引起诗意反应的物品"的设计，注意非物质的服务、方式、视听感受等方面的设计，设计学科已出现从实用的材料工程科学、技术科学、产品功能等的物质形态和价值转向服务、方式、文化、情感、诗化等无形的非物质方面的趋向。

Heidegger tried to release being with poetic language, but he overlooked the intercross time and intercross fact.

海德格尔试图用诗意的语言释放存在，却忽视了交互时间与交互事实。

From May 4th Movement of 1919 to the 1920s, sex love narrations in Chinese novels were rather an enlightenment and liberation in that particular era with four characteristics. Firstly, sexual desire was endowed with rationality with regard to liberation of human nature and mutual love. Secondly, with an epochal concern for a stronger and superior race, greater attention was paid to sexual parties concerned, mainly physically. Thirdly, new ethics on sex were promoted in that personal freedom on sex love was emphasized and sex love became an important way of self-fulfillment. Therefore, independence of sex love was advocated and the scope of sex love was also widened. Fourthly, the sex consciousness of this period had the mixed features of the past and the contemporary. Sex love narrations in the 1930s and 1940s showed a further exploration on the theme of human nature. First of all, sex was restored to a kind of desire. ShenCongwen probed the importance of harmonious sex love to a sound personality and Shi Zhecunrevealed that sexual inhibition could lead to the distortion, even frenzy of human nature. Bothexplored the influence and functions of sexual desire as human nature upon human personality,giving prominence to the irresistibleness of sexual desire and the significance of sexual desire asa motive. Then, human bodies driven by sexual desire were described and given greater attentionto. Next, ethics on sex were deconstructed either by Shen Congwen who opposed man-madeethics with law of nature and the School of New Sensation who replaced traditional ethics on sexwith exchange rules in consumption, or by Shi Zhecun who spared no efforts in representing thecomplete failure of social rules, including ethics on sex, due to the impact from sexual desire.The direct effect was a paleness of the ethical binding force on sex. Last, sex consciousness inthe works of female writers emerged. In the early works of Ding Ling, the sexual desire of thefemale is no longer a ramification of emotion but an independent one. In addition, in the sex lovenarrations of other female writers, such as Mei Niang, strong self-consciousness on the socialstatus of the female is also reflected. Sex love narrations in the late 1970s and early 1980s wereactually a re-enlightenment in the spirit of humanism, whose major features include humanisticlegitimation of sex love within the boundary of ethics, a blend of sex love narrations withnational concepts and national myths as well as the aesthetic, poetic descriptions of humanbodies etc. In the middle and late 1980s, sex love narrations entered a stage of exploration forpluralism. First, by restoration of sexual desire, writers of this era restored human nature, thevery original state of human being. Different emphasis and tendencies could be seen in differentwriters: looking at sex love dialectically and trying to describe its creative as well as destructivecharacteristics; connecting sex love with violence and trying to reveal the evil side of humannature through it; emphasizing the creativeness of sex love especially in the heritage of"wildness".

从"五四"到20世纪20年代，中国小说的性爱叙事是一种处在时代夹缝中的启蒙和解放，其所表现出来的特点，一是正面赋予性欲望以合理性，这种合理性是在人性解放和爱情前提下获得的；二是在强种育种的时代焦虑影响下小说性爱叙事表现出对物质身体的关注，其焦点主要在体格方面；三是树立起新的性伦理道德观念，表现为强调在性爱问题上的个人选择自由，性爱成为个人自我实现的重要方式，从而赋予人在性爱问题上的独立性，同时还扩大了性爱表现的领域；四，这个时期小说性爱叙事中所表现出的性意识还具有新旧杂糅的特点。30、40年代小说性爱叙事表现出对人性主题的深化与丌拓，首先是把性还原为欲望本身来探索，沈从文从和谐性爱对健全人性的决定作用、施蛰存从性压抑会导致人性扭曲甚至疯狂的角度探讨作为人类本质性欲望的性对人性产生的影响和作用，突出了性欲力量的不可抗拒和作为人类行为的重要动力等方面的内容；其次在叙事中表现出对欲望化了的身体的描绘与关注；第三是解构了性的伦理道德，无论是沈从文以自然法则来反对人为的道德设置还是新感觉派用消费交换原则替代传统性伦理道德，或是施蛰存极力表现包括性伦理规范在内的社会法则在性欲力量冲击下溃不成军，其直接的效果都是使性伦理道德对人的约束力量显得苍白虚弱；第四，出现了由女性作家表现的女性性意识，在丁玲的早期作品中女性的性欲望不再是作为感情的衍生物而是独立的欲望存在，而在梅娘等其他女作家的小说性爱叙事中则表现出对女性社会地位的强烈自觉意识。70年代末80年代初期小说的性爱叙事实际上是在人道主义语境下的再次启蒙，其主要特征一是性爱在人道主义前提下获得合法性，但要求性爱不超出伦理规定的范围；再就是将性爱叙事同国家观念和民族神话相融合；此外还有对身体的描写审美化诗意化等。80年代中后期，小说性爱叙事进入了多元化探索的阶段，作家通过还原性欲望来还原人性、还原人类的本真状态，不同作家笔下表现为不同的侧重和倾向——以辨证的方式看待性爱，写出其具有的创造性力量和毁灭性特征；将性爱与暴力相联系并通过其来表现人性的黑暗；强调性爱的创造性作用，尤其在民族"血性"的传承方面。

The article made a comparison between Wang Xiaobo and Milan Kundera in three aspects of Historical joke and the rebel era colors, poetic creation and uncontrolled logos rays, sapiential jocosity and fearless sex.

本文从 历史的玩笑与反叛的时代色彩，诗意的创造与自由的理性光芒，智慧的戏谑与无畏的性爱狂欢三个方面对王小波与米兰·昆德拉的作品进行了比较。

The article made a comparison between Wang Xiaobo and Milan Kundera in three aspects of Historical joke and the rebel era colors, poetic creation and uncontrolled logos rays, sapiential jocosity and fearless ***.

摘 要：本文从历史的玩笑与反叛的时代色彩，诗意的创造与自由的理性光芒，智慧的戏谑与无畏的**狂欢三个方面对王小波与米兰·昆德拉的作品进行了比较。

Plunder melds and run with this jewel!

掠夺melds和运行与此宝石！

My dream is to be a crazy growing tree and extend at the edge between the city and the forest.

此刻，也许正是在通往天国的路上，我体验着这白色的晕旋。