麦克卢汉

As the media theorist Marshall McLuhan pointed out in the 1960s, media are not just passive channels of information.

正如媒体研究专家马歇尔·麦克卢汉在20世纪60年代所指出的那样，媒体可不仅仅是被动的信息渠道。

This dissertation elaborates Canadian medium study Scholar Marshall Mcluhan s points of view on media culture.

中文摘要：本文以加拿大传播学者马歇尔·麦克卢汉的媒介文化观作为研究对象。

This is the process of "tribalization". McLuhan revealed the essence of technology and explored new dimensions from this original viewpoint.

麦克卢汉从全新的角度揭示了人与技术的真实关系，拓展了技术研究的新空间。

Marshall McLuhan thinks that this viewpoint conceals the essential characteristics of technology.

麦克卢汉认为，这种技术观遮蔽了技术的本质特征。

Yet a great deal of what McLuhan predicted, particularly in the pessimistic undercurrent of his reflections

然而，麦克卢汉的很多预言，尤其是有关媒体的评论中所表露出的悲观的预测，事实上都得到了证实。

In 1960s, Marshall McLuhan put forward his forward-looking media concept, which focused on the power of media itself.

20世纪60年代，麦克卢汉提出了他具有前瞻性的媒介观，强调媒介本身对人类社会的重要意义。

A Mcluhan 's analogy is extremely significant to us about understanding the media, all the media and technology is extension of mankind.

麦克卢汉的一句神喻使我们对于媒介的理解具有非凡的意义，所有媒介和技术都是人类的延伸。

The paper asserts that the McLuhan media theory cannot be simply attributed to the category of Technical Decision.

笔者提出麦克卢汉的媒介思想并不能简单地归类为"技术决定论"。

McLuhan in the 1960s that "the media is not only a passive provision of information channels, but also in the transfer of resources to change the mode of thinking."

麦克卢汉在上世纪60年代指出，"媒体不仅只是被动的提供信息渠道，而是在传输资源的同时改变思考的模式"。

Neither Edison's nor McLuhan's premonitions were realized as they had been projected.

不管是Edison的还是麦克卢汉的设想都没有实现，因为他们都没有正确反映。

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。