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western philosophy
相关语句
  西方哲学
    The Evolution of the Relation between Western Philosophy and Aesthetics
    西方哲学与美学关系演变史论
短句来源
    Entelechy in Western Philosophy Aesthetics
    西方哲学美学中的实体形式观念
短句来源
    Kant's philosophy-aesthetics is a proper bridge by which we can compare Chinese philosophy with Western philosophy.
    中西方哲学的相互深入理解,要求我们使用比照诠释的方法:以西方逻辑式的方法解释中国传统心性哲学,以东方体悟式的方法表达西方哲学
短句来源
    Immanuel kant is an epoch-making,great man in western Philosophy history:he brought Germany, Europe and even the whole world unforgettable thought wealth.
    康德是西方哲学史上划时代的伟大人物:他不但给德国,欧洲,乃至给全世界带来了不可磨灭的思想财富。
短句来源
    This is the result of thought changes of contemporary western philosophy, new developments of contemporary psychology and social sciences, as well as methodology changes of in aesthetic research.
    这是当代西方哲学思潮的转变、当代心理学和社会科学的新发展以及美学研究方法的改变导致的结果。
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  “western philosophy”译为未确定词的双语例句
    On the Interaction of Chinese and Western Philosophy and Aesthetics from Heidegger
    从海德格尔看中西哲学美学的互动影响
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    On the basis of the previous researches by others, the writer tried to find the similarity and dissimilarity between Ruan's theory and Zhuang Zi's theory through the comparison between them and rethinking the significance of life through the related western philosophy.
    在论文的写作过程中,笔者主要借鉴前人关于阮籍思想的研究成果,通过阮学与庄学的比较研究,并拟从西方现代相关的哲学思潮(主要是存在主义哲学)反思其生存的意义,寻找对应性同时兼顾差异性。
短句来源
    First, by stressing the metaphysics in modern Western philosophy, Wang advocated academic and aesthetic autonomy, adding to Chinese aesthetics the thinking of modern philosophy.
    这表现在如下方面 :第一 ,王国维强调西方现代哲学是“形上之学” ,提出了“学术独立”和“审美独立”的观点 ,赋予中国美学以现代哲学的思维品格 ;
短句来源
    Phenomenology embodies a way of thinking in contemporary western philosophy, which possesses characteristics of unpresupposition and directness, etc.
    它体现了西方现代哲学的思维方式特征,具有无前提性、直接性等特征.
短句来源
    The historical changes of western aesthetics are based on the changes of the historical changes of western philosophy .
    西方美学体系的历史演变,以相应哲学范式的历史演变为基础。
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  western philosophy
This first paper presents a phenomenological inquiry into the concept of "critique." The result of the inquiry is a model of the possibilities ofcritique which is used to interpret four "moments" of critique in Modern Western Philosophy.
      
This paper is the first in a trilogy which intends to discuss the notion of critique within two different contexts: Modern Western Philosophy and Contemporary Systems Thinking.
      
The paradigm concept as developed in western philosophy of science contexts is reviewed, and the metaphysical paradigms that govern research protocols in mainstream Old and New World prehistoric archaeology are described and compared.
      
The comparative study of Eastern and Western philosophy has been hindered and/or distorted by Eurocentric assumptions about "philosophy", especially the overvaluation of rationality as an instrument of knowledge.
      
Lastly, it demonstrates a conceptual difference between Chinese and Western philosophy with respect to the notion of mind.
      
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The category of contingency occupies a particular position and has important theoretic value in classic Chinese aesthetics.In the point of view of Chinese aesthetics, contingency is defined as a way of thinking in which the subjects in artistic creation have theaesthetic image suddenly and not intendedly, which is led by the changes of outside world and arouses emotion and creative impulse of the subjects. The concept of contingency in classic Chinese aesthetics is not with logic meaning as the category in western...

The category of contingency occupies a particular position and has important theoretic value in classic Chinese aesthetics.In the point of view of Chinese aesthetics, contingency is defined as a way of thinking in which the subjects in artistic creation have theaesthetic image suddenly and not intendedly, which is led by the changes of outside world and arouses emotion and creative impulse of the subjects. The concept of contingency in classic Chinese aesthetics is not with logic meaning as the category in western philosophy,but with very rich substance and it represents the Chinese character in aesthetics.

在中国古典美学中,偶然这个范畴有着突出的位置与重要的理论价值。从中国美学角度来看,偶然指艺术创造主体赖以激发审美情感、创_作冲动,并在不经意间形成审美意象的一种突发性的思维方式,是以客观外物的变化触失主体情感为前提条件的。对于偶然性创作契机的发生机制,中国古代美学是从审美主客体的触遍感发的思路来阐释的,这就是审美感兴论的传统。中国古典美学中的“偶然”范畴基本上是处于感性样态的,不具备西方哲学那种范畴的逻辑意义,但却非常丰富,体现了中国美学的民族特色。

The contradictions in ZhuGuangqian's asthetic system,reflected in the frame of modern epistemology oriented western philosophy asthetic,are hard to be explained in details. Starting with literature and art practice oriented reality,Zhu has gathered some contradictory theories which are in fact the breakthrough of the epistemology oriented one. Although he didn't solve the contradictions and develope a new theory to eliminate them,he made a thorough discription of appreciation of the beauty and literature...

The contradictions in ZhuGuangqian's asthetic system,reflected in the frame of modern epistemology oriented western philosophy asthetic,are hard to be explained in details. Starting with literature and art practice oriented reality,Zhu has gathered some contradictory theories which are in fact the breakthrough of the epistemology oriented one. Although he didn't solve the contradictions and develope a new theory to eliminate them,he made a thorough discription of appreciation of the beauty and literature practice. This is where his contradiction in asthetic system and the value lie.

朱光潜美学体系的矛盾,表明在近代以认识论为中心的西方哲学和美学的大框架里,很难具体解释和描述现实的审美活动和文艺实践。朱光潜从尊重文艺实践的实际出发,汇集一些相互矛盾的理论,事实上是对这种以认识论为中心的美学的突破。尽管朱光潜并没有很好地解决这些矛盾,没有创立一种崭新的美学理论来克服这些矛盾,但他保全了对审美和文艺实践的相对正确的事实描述。这正是朱光潜美学体系中的矛盾和价值所在。

Zen aesthetics is an integral part of aesthetics both of ancient China and of the world. Achievements have been made in contemporary studies of Zen aesthetics, particularly in the area of basic theories and the relationship between Zen and traditional Chinese artistic forms. The studies focus primarily on exploring the deep relationship between Zen and literature and art. Research method has changed a great deal with many scholars resorting to western philosophy and psychology rather than the traditional...

Zen aesthetics is an integral part of aesthetics both of ancient China and of the world. Achievements have been made in contemporary studies of Zen aesthetics, particularly in the area of basic theories and the relationship between Zen and traditional Chinese artistic forms. The studies focus primarily on exploring the deep relationship between Zen and literature and art. Research method has changed a great deal with many scholars resorting to western philosophy and psychology rather than the traditional intuitive way of thinking. The shortcoming of Zen aesthetic studies lies in the narrowness both of research methods and perspective.

禅美学是中国古代美学思想的重要组成部分 ,也是世界美学发展进程中不可忽视的内容。当代禅美学研究在禅美学基本理论问题的探索、佛禅与中国传统文艺形式之间的关系等方面取得了许多进展。研究角度主要是分析禅与艺本质上的深层联系以及从历史遗留下来的文艺作品中总结禅美学的内在规律 ,研究方式已初步突破传统美学的感悟式思维 ,而趋向于汲取西方哲学、心理学的成果。禅美学研究的不足在于研究方法、研究角度存在着视野狭窄的问题。

 
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