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Among other things, we prove that, for a compact K?hler-Einstein complex surface (M, J, g0) with negative scalar curvature, (i) if g1 is a Riemannian metric on M with λM(g1) = λM(g0), then
      
It is shown that the higher the slag basicity, the stronger the hydration interactions in alkaline binder compositions causing their hardening, all other things being equal.
      
It is shown that, other things being equal, the response of the system to the light wave is greatest when the period of the interference intensity pattern is of the order of twice the thickness of the layer.
      
Apparently, the calculation formulas for the rate of thermophoretic transfer have a wider range of validity than those previously obtained, all other things being equal.
      
It is demonstrated that the main factor defining the electron loss in magnetic traps in the collisionless limit is the departure of fast electrons from magnetic traps to the boundaries of the structure among other things.
      
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i is one of the most widely used categories in ancient Chinese aesthetics and art theory. In its transition from a philosophical catetgory to an aesthetic one, its psychological and artistic connotations as an aesthetic concept become richer and richer. Its conception of the unity of all things of creation, resting upon cosmic life as its support, gives birth to the life spirit of ancient China's aesthetic consciousness and constitutes a system of aesthetic psychology with Qi as its inner logic, exerting...

i is one of the most widely used categories in ancient Chinese aesthetics and art theory. In its transition from a philosophical catetgory to an aesthetic one, its psychological and artistic connotations as an aesthetic concept become richer and richer. Its conception of the unity of all things of creation, resting upon cosmic life as its support, gives birth to the life spirit of ancient China's aesthetic consciousness and constitutes a system of aesthetic psychology with Qi as its inner logic, exerting great influence on aesthetic theory and artistic creation.

“气”是中国古代美学、艺术理论使用最广的范畴之一。它在由哲学范畴向美学范畴的转化过程中,其审美的心理内涵和艺术内涵越来越丰富,它以宇宙生命为依归的万物一体观孕育了中国古代审美意识的生命精神,甚至构成了以“气”为内在逻辑的审美心理体系,对美学理论和艺术创作产生了重大影响

The ancient aesthetics in s theoretical generalization of beauty judging consciouness which is characterized by two features:incompleteness and closedness.As the two highest categories in the ancient Chinese aestheites,image fostering and artistic conception display these two aspects in terms of their own systems.The Confucian aethetics emphasizes aesthetic incompleleness or external imagery and longing,whereas Daoist aethetics stresses aesthetic closedness or internal cognition.These two doctrines contain...

The ancient aesthetics in s theoretical generalization of beauty judging consciouness which is characterized by two features:incompleteness and closedness.As the two highest categories in the ancient Chinese aestheites,image fostering and artistic conception display these two aspects in terms of their own systems.The Confucian aethetics emphasizes aesthetic incompleleness or external imagery and longing,whereas Daoist aethetics stresses aesthetic closedness or internal cognition.These two doctrines contain three functions of veneer,exclusion and inwardly transrerence,forming a factor that upset and curb the advance of modern aesthetics.Against the background of the transition of tthe Chinese aesthetics from ancient to modern,Zhu Guangqian and Zong Baihua,both of whom base their aethetics on a common ground that subject corresponds object or things and ego are of t4he same configuration,represent,in thrir respective way,modern subjective aesthetics which expound and prove the tow fundamental aspects of the artistic form and emotional motives.The former is ttrying to overcome aethetic incompleteness y stressing the artistic form or aethetic purposw,while the latter is trying to gey over aethetic closedness by stressing vitality or deeper experiencing.One of them is the sun God hosting wakingness,and the other the sun God commanding drunkenness,talking about sexual surage,and thus the two form a relationship of complementarity.For the ancient aesthetics,this complementarity constitutes jointfores breaking out of the encirclement;and for the future aesthetics,on the other hand,this complementarity reveals,in one important respect,theoretical problems and the way to developmen in modern asthetics.

古代美学是古代审美意识残缺和封闭两个基本特性的理论概括,而作为中国古代美学的两个最高范畴,兴象和意境分别以各自的体系展示了这两大特性。儒家美学偏重审美残缺或外象意欲,道家美学则偏重审美封闭和内向认知。这两种倾向所包含的胶合、排斥和暗转三种功能,形成对美学现代进程的强烈干扰和制动。在中国美学从古代向现代变革的这种宏观背景之上,朱光潜和宗白华以主客对应或物我同构为共同的思想基础,分别代表现代主观论美学论证着艺术形式和情感动力这两个基本方面。前者强调艺术形式或审美意向克服审美残缺,后者强调生命活力或深层体验克服审美封闭。他们一个是日神主醒,讲意象观照,一个是酒神主醉,讲情感涌动。这就形成了互补。面对古代美学,这种互补形成突围的合力;面对现代美学的未来,这种互补又从一个重要的方面揭示出现代美学的理论课题和发展趋向

The raising of the question "what is aesthetics" was based on objective idealism and took the idea of aesthetics and the existence of aesthetics itself as its ideological premises. Therefore, the proposition Inherently has the solution that aesthetics is a substantial existence which misleading the aesthetic studies for 2000 years. The theory of cognitive aesthetics holds the view that aesthetic studies should replace the proposition with " what the conception of aesthetics expressed", which can liberate the...

The raising of the question "what is aesthetics" was based on objective idealism and took the idea of aesthetics and the existence of aesthetics itself as its ideological premises. Therefore, the proposition Inherently has the solution that aesthetics is a substantial existence which misleading the aesthetic studies for 2000 years. The theory of cognitive aesthetics holds the view that aesthetic studies should replace the proposition with " what the conception of aesthetics expressed", which can liberate the way of thinking in aesthetic studies. The idea of aesthetics can not exist independently, since aesthetics is only an expression of subjective perceptions. There is no such thing as the nature of aesthetics.

"美是什么"命题的提出是以客观唯心主义为基础、以美"理念"及"美本身"的存在为思想前提的。因此,该命题一经形成就内在地含有着美是一种实体存在的答案,误导美学研究两千多年。认知美学理论认为:只有破除掉该命题的束缚,代之以"美概念表示什么"命题,才可使美学研究的思路获得解放;审美关系是在一般功利关系基础上转化而成的,其转化的关键因素,是人形成了新型的认知方式,可以对事物形象产生非功利的愉悦感觉。这种感觉被称之为"美"、形容为"美"。因此,美概念本是对主观感觉的表述,不是对任何实体性对象事物的指称,"美是什么"命题不能成立,"美本质"问题也不应存在。

 
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