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现代主义意识
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  modernist consciousness
     On the Modernist Consciousness in Mu Dan's Poetry
     论穆旦诗的现代主义意识
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  “现代主义意识”译为未确定词的双语例句
     In the first part, the writer makes an analysis of the particular embodiment and profound meaning in Maugham's works, Special emphasis is given to the relationship between the consciousness of death and nihilism.
     第一部分着重从死亡意识和虚无思想两个层面联系其主要作品透彻地分析了毛姆小说现代主义意识的具体体现和深刻内涵。
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     Through analysing,we can know that “Jiuye” school could re-emerge after more than 30 years, because its highly conscious modernism and van-style which pursued deeper experience arouse strong sympathy with the poetic expecting horizon in new era.
     通过分析,我们可以看出,“九叶”诗派之所以在时隔30余年后得以重新浮出历史地表为时代所认可,就在于它那高度自觉的现代主义意识与追求深度经验的先锋风格和新时期的诗歌期待视野产生了强烈共鸣。
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  相似匹配句对
     Western Modernism Writers Sense of Time
     西方现代主义作家的时间意识
短句来源
     On the Modernist Consciousness in Mu Dan's Poetry
     论穆旦诗的现代主义意识
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     Second is awareness.
     其次是意识 ;
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     From Modernism to Postmodernism
     从现代主义到后现代主义
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     The“ Modernistic ”Shakespeare
     “现代主义”的莎士比亚
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traditional imitatiom tended to show the external world, modernist imitation of consciousness represented a characters inner world, postmodernism parody which deliberately imitates a particular literary work, however, subverted the traditional elations between artful manipulations and object matter. It was possible to explain the relations between art world and reality or fiction and truth by appling the parody to revolt against real world. We hold a view of parody, at last, as the circulation and return of...

traditional imitatiom tended to show the external world, modernist imitation of consciousness represented a characters inner world, postmodernism parody which deliberately imitates a particular literary work, however, subverted the traditional elations between artful manipulations and object matter. It was possible to explain the relations between art world and reality or fiction and truth by appling the parody to revolt against real world. We hold a view of parody, at last, as the circulation and return of imitation, an it showed us three aspects:(1)The literary works which imitates itself, in fact, was still to echo the reality. (2) Imitation were included in the fitction of fictiv utterances. And (3)Any kind of literary works had to show its attitute to the truth.

小说的古典主义模仿力图使外在现实呈现,现代主义的意识模仿描写追求内心现实的实现,后现代主义的模仿虚构破坏了艺术与客体之间的传统现实关系,以故意模仿与真实世界相对抗,借以完成对艺术和真实、虚构与现实之间的解释。模仿的逆转最终可以看作模仿的循环和回归。对模仿现实的极端破坏至少表达了模仿虚构的三方面困境:1.小说重复自己仍是在重复现实;2.虚构的虚构仍然包含着模仿;3.任何模仿都必须表达对真实的态度

As the greatest philosopher in the 20 th century,Martin Heidegger is considered to be the forerunner of the postmodernism.The present article explores the postmodern consciousness in Time and Being,Heidegger's masterpiece,which finds expression in:1)the idea of time and humans as individual beings is introduced,thus to deconstruct the traditional metaphysics;2)the open movement with man's participation is regarded as the truth of being;3)attention is paid to man's commonness and immediateness;4)the intercourse...

As the greatest philosopher in the 20 th century,Martin Heidegger is considered to be the forerunner of the postmodernism.The present article explores the postmodern consciousness in Time and Being,Heidegger's masterpiece,which finds expression in:1)the idea of time and humans as individual beings is introduced,thus to deconstruct the traditional metaphysics;2)the open movement with man's participation is regarded as the truth of being;3)attention is paid to man's commonness and immediateness;4)the intercourse in the qualities of time and space is established.And this article also points out the enlightenment of Heidegger's masterpiece to our present society.

作为二十世纪最伟大的哲人 ,海德格尔被公认为后现代主义思潮的先驱者。本文探讨了海德格尔的代表作《存在与时间》所体现的后现代主义意识 ,具体表现为 :1)将时间概念和作为存在者的人引入存在的讨论中 ,从而解构了经院式的传统形而上学 ;2 )将存在的真理作为一种存在者参与的开放式的运动看待 ,突破了僵化的超验存在观 ;3)人的当下性和日常性成为关注的对象 ;4)主张时间三维的互通性和空间多维的互动统一性。本文同时指出了《存在与时间》的后现代意识对当今社会的启示作用。

The Mies exhibition in the two major museums in New York City hasoffered a perfect chance for our retrospection on his historical influences. Today, when wehave exempted ourselves from the Modernism ideology, it is clear that such retrospectionno longer indulges in deifying a special kind of beauty in architecture, but, critically, seeksfor the truth of history beyond the sheer phenomenon of architecture.

于纽约举办的“密斯回顾展”为我们重审密斯的历史影响提供了机会。今天,当我们已远离现代主义意识形态的时候,对密斯的反思必然不再包含对什么超凡的“建筑美”的顶礼膜拜,而是要在批判中寻求隐藏在建筑表象之后的深刻的历史理性。

 
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