超现实主义 - 网络例句 - 英语人，englisher

"Symbolism, impressionism, surrealism, theatricalism, expressionism, and absurdism are used to express aspects of the sensibility."

为表现这种情感的各个方面，人们采用象征主义，印象主义，超现实主义，夸张派，表现主义和荒诞派的手法。

Having employing Brechtian devices in general, her plays become the new buds of Brechtian theatre in England. Moreover, Churchill has widely experimented with some components of surrealism, absurdism, postmodernism, and even the cruel theatre. She has apparently developed her characteristic style and artistic spectacle.

凯萝。邱吉尔的舞台剧创作在总体上继承了德国戏剧大师布莱希特的叙事剧传统，是布莱希特戏剧传到英国后在英国的气候和土壤中绽出的新蕾，同时又突破了传统的叙事剧风格，融入了超现实主义、荒诞派戏剧、后现代主义乃至阿尔托的"残酷戏剧"的艺术因素，贯注了凯萝。

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。

In addition, he is one of the most famous surrealistic artists. My paintings reveal the surrealistic atmosphere too. That is why people like to associate my paintings to his works.

另外他是最有名的超现实主义画家之一，而我的画中透露出的超现实意境，使人们容易联想到他的画。

After that, chapter two, in order to explore for the purpose of the subconscious self, so is based on Dadaism, Surrealism, Psychoanalysis, Abstract Expressionism and Symbolism. In addition, according to the analysis of literature review on relevant psychological theories, we can find out the meanings of symbolic significance of the images from works.

第二章，以探求自我潜意识为目的，故以达达主义Dadaism、超现实主义Surrealism、心理分析主义Psychoanalysis、抽象表现主义Abstract Expressionism与象徵主义Symbolism的思想来作为理论基础，并配合相关心理分析理论的文献，观察作品中出现之物象的象徵意义。

If Surrealist images of the subconscious are no longer possible as they will be absorbed into popular imagery as soon as the images are in wide circulation, what is left is the sense of tension, in the double take of fetishism, in the representation of fetishistic popular imagery and icons, enhancing this even further though the mysticism of Surrealistic devices.

如果潜在意识者的超现实主义者图像不再可能的当他们将会进入流行的肖像之内被吸收一旦图像是在广泛的循环中，被留下的是紧张感，在加倍中拜物教轮流，在崇拜物神流行的肖像和圣像的表现中，甚至提高这虽然促进超现实主义装置的神秘。

In her paintings, Jung Ji-hyun decolorizes cactuses, flowers and apples and exhibits inanimate image.

超现实主义画家们一般采用一些打破日常秩序来达到无意识的超现实状态。

Then we should re-explain art.

文章把现代主义艺术的抽象化进程作为第一部分：印象主义的崛起，后印象主义，现代主义的发展，这是一个艺术逐渐抽象的过程；杜尚以后的艺术作为第二部分：杜尚与达达主义，超现实主义，装置与新达达主义，波普艺术，从极少艺术到观念艺术，新具象艺术，这是一个以具象形式对抽象主义的反拨。

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。

Before responding to the Metaphysical painting of de Chirico and being brought into the Surrealist Movement in 1929, Salvador Dali had admired the command of detail in artists such as Ernest Meissonier (1815-1891) and the Pre-Raphaelites; his physical technique continued to reflect this admiration.

早在1929年人类在进入超现实主义的乐章和对de Chirico超现实超自然绘画有所反应之前，便已经大力的崇尚那些掌握细节的艺术家，比如： Ernest Meissonier (1815-1891)和 Pre-Raphaelites。