马库塞

Visual images art is a discipline of deep aesthetic foundation; the Frankfurt School makes great theoretical contribution to it. Compared with traditional arts, visual images art has distinctive aesthetic characteristics in technology, visuality and entertainment.

影像艺术有深厚的美学基础，法兰克福学派的马尔库塞对影像艺术理论有重要的贡献，与传统艺术相比，影像艺术在技术性、现场感、游戏性上有自己的审美特征。

Because of the deviation, the society became a one-dimensional society, man became a one-dimensional man.it"s same to the politics, thought and culture. Marcuse critiqued it fierily. He thought that the man in this society would lose his individuality, independence power as well as the inner revolution and negativity against the social control and manipulation. They would be " industrial civilization slave" and "one-dimensional man" freely and numbly, succumbing to society polities" need. Politics became one-dimensional without opposition.

由这种的分离，社会发生异化，社会变成了单向度社会，病态社会，人成了单向度人，政治、思想、文化也都变成了单向度的政治、思想、文化，基于此，马尔库塞对之进行了猛烈抨击，认为人在这样一个社会中失去了自己的个性，失去了自主力，失去了对社会控制与操纵的内在反抗性、否定性，舒舒服服地成为&工业文明的奴隶&，成为屈从社会政治需要而又麻木地自感幸福的&单向度的人&，政治成了没有政治反对派的单向度政治。

The Taoist ecological view of natural and nonaction adherence shares similarities with Marcuse's thougts of ecoaeshetics.

道家的自然无为、道法自然的生态观念，与马尔库塞的生态美学思想之间具有相似性。

T.W.Addorno criticizes the uncivilized, following cultural industry, the marketing art and shortcomings of the degradation of life of individuality. Herbert Marcuse thinks that consumer culture safeguards the ruling class's ideology as well as science and technology. It not only makes the whole consumer society be a unidirectional society without reflectional and critical ability, but also has people indulge in the promised happiness and illusion of self-expression through consumption, which makes people lose subjective quality. Fromn discovers that in the consumer society of developed countries, alienation becomes rampant but not be lessened or eliminated, and humanity becomes even more twisted but not develops healthily.

阿多诺批判了文化工业所导致的蒙昧，艺术被市场化，个性生命的沉沦之类弊端；马尔库塞认为，科学技术与消费文化一道维护着资产阶级的意识形态，让整个消费社会成为失去了反思和批判能力的单向度社会，使人们沉浸在消费所承诺的幸福之中，沉浸在用消费表达自我的幻觉之中，失去了自己的主体性；弗洛姆看到，在发达资本主义国家的消费社会中，异化非但没有减轻和消除，反而愈演愈烈，人性非但没有走向健康发展的道路，反而更加扭曲。

Having made a series of investigations about the revolutionary functions of art, such as the negation and surpassingness of reality, the emancipation of soul and the creation of new perception, the author explores the carrying way and the specificity of Marscuse's revolutionary functions of art.

笔者从艺术对现实的否定与超越、对心灵的解放、对新感性的造就等革命功能作了逐一考察，探索了马尔库塞艺术革命功能的承载方式和艺术革命功能的特殊性等问题。

Having made a series of investigations about the revolutionary functions of art, such as the negation and surpassingness of reality, the emancipation of soul and the creation of new perception, the author explores the carrying way and the specificity of Marscuse's revolutionary functions of art.

0世纪 6 0年代，在世界范围的造反运动中，马尔库塞被捧为 6 0年代轰动一时的西欧、北美&学生造反运动&和&新左派&的精神领袖，他的批判理论由此介入变革社会现实的实践活动之中。

Within the complicated environment of contemporary society (or pre-modern, modern, postmodern in China), a "split" man (obviously with partly "split personality" and partly "split mentality"), or in my words, a "split city man", if Marcuse built up his theory of "one-dimensional man" in terms of social stratification, would become an offspring generated in the contemporary social environment with "its" reference to "everyone affected by modernization"(city man, country man unassimilated or assimilating in city and the "minority" being encroached by city culture).

当代社会（中国的前现代、现代、后现代）的复杂社会局面中，&分裂&的人，(当然，这种&分裂&一部分是&人格分裂&，另一部分是&精神分裂&。)如果说马尔库塞的&单向度&的人的提出是建立在一种社会阶层化概念上来说的，那我这里所言的&都市分裂人&则是在一个时下的当代社会背景下提出来的一种社会产物，而且&它&的指涉性指向&受现代化干扰的所有人&。（都市人、未完成都市化或正在都市化的乡村人及受到都市文化侵入的那些&少数人&。

"It is possible," said Morcerf; my father has in his study a genealogical tree which will tell you all that, and on which I made commentaries that would have greatly edified Hozier and Jaucourt.

&可能是吧，？马尔塞夫说道，&我父亲的书房里有一本家族谱，您一看就可以完全明白的。我曾在那本族谱上作过批注，要是身齐和乔库尔看了，对于他们的研究一定大有裨益的。

But Herbert Marcuse, as a famous philosopher of Frank school thought, stood the opposition of the society and viewed the real features of modern people.

而法兰克福学派著名代表人物马尔库塞却站在社会的对立面，审视现代社会人的真实面貌。

On the one hand, it described the intension and characteristics of aesthetic Utopia in hist...

一方面阐述了历史语境中审美乌托邦思想的内涵与特性；另一方面论述了席勒、马尔库塞审美乌托邦思想产生的历史背景和理论渊源。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。