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artistic subject
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  艺术主体
     On Fu Lei's Artistic Subject and Aesthetic Presentation
     试论傅雷的艺术主体思想——兼谈艺术的审美表现
短句来源
     In the Hegel' s system of philosophy, the activities people cognizing the Absolute Idea in the absolute spirit, are just free legislative activities of will in thought sphere or are free practical-objective thoughts, which are carried on through the method of artistic imagination by the artistic subject.
     在黑格尔的哲学体系中,人在绝对精神中认识绝对理念的活动,不过是在思维领域所进行的自由的意志立法活动,所以处于绝对精神层面的艺术认识不过是艺术主体以艺术想象的方式所进行的实践理性思维活动或者说是实践目的性认识活动。
短句来源
     Hegel' s category of artistic cognition doesn' t deny or repel artistic emotion either. Oppositely Hegel refers the category of artistic cognition to practice-reason thinking of artistic subject has the meaning of deep artistic emotion.
     黑格尔的艺术认识范畴也没有否定和排斥艺术情感,相反黑格尔把艺术认识看成是艺术主体的实践理性思维赋予了艺术情感深厚的实践理性内涵。
短句来源
     Hegel thinks only in the development history of constantly discarding of limited will-freedom, can artistic subject realize the free legislative activities of practice-reason in the activities of artistic cognition. The view of Hegel' s is very important to correctly deal with the relationship between the artists' evaluation and people' s perceptual practice.
     黑格尔认为在艺术认识中艺术主体只有在不断扬弃有限意志自由的历史发展中才能实现自由的实践理性立法,这一看法对马克思主义文艺理论研究正确认识艺术家的价值评价与人的感性实践的关系是非常重要的。
短句来源
     Rather, it lies in the aesthetic freedom, which shows itself in the special nature of the artistic spiritual content, in the development and change of the artistic form, and in the personality of the artistic subject as well.
     非道德的劝善惩恶,又非历史的展示和预言,而在于审美的自由。 这种自由,既体现在艺术精神内容特质上,又体现在艺术形式的发展变化上,同时,更鲜明地体现在艺术主体的人格内涵中。
短句来源
  “artistic subject”译为未确定词的双语例句
     This dissertation is a youth project funded by the nation-wide artistic subject "the 10th five-year" project that the author independently undertakes, whose main idea is to systematically discuss the vanguard of the Chinese contemporary avant-garde theatre, thinking that its vanguard mostly consists of 4 aspects, that is, the experiment on the artistic form, the radicalness on the ideological content, the nativeness on the main identity, and the marginalization on the location of setting up.
     本文是作者独立承担的全国艺术学科“十五”规划青年基金课题,主要是系统地论述中国当代先锋戏剧的先锋性,认为其先锋性主要体现在四个方面,即艺术形式上的实验性、思想内容上的激进性、主体身份上的本土性和存在位置上的边缘性。
短句来源
     In economic big tide in merchandise oppress under, economic performance on of the artistic subject sweeps television market and whole societies, the television record slice appreciates beauty the meaning with enlighten the person of obligation suffered the unprecedented challenge.
     在商品经济大潮中裹挟之下,经济效益之上的创作主旨横扫着电视市场以及整个社会时,电视纪录片的审美意义与启蒙责任受到了空前的挑战。
短句来源
     The poems written by temperament and sudden inspiration must contain the artistic subject with the nature of natural truth resulting from the natural coalescence of the natural truth of the creation subject and the descriptive object.
     “性灵诗”必须有创作主体之“天真”与表现对象之“天真”自然凝结为具有“天真”艺术本质的艺术本体 ;
短句来源
     The core of Fu Lei's artis tic ideology lies in his stress on the artistic subject.
     傅雷艺术思想的核心在于突出艺术的主体性。
短句来源
     The generalized subject Art consists of artistic theory,artistic history of development and artistic subject of criticize.
     广义艺术学,包括艺术理论、艺术的发展史、艺术批评学。
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  相似匹配句对
     On "Subject"
     论“主语”
短句来源
     the subject;
     挪用公款罪的主体;
短句来源
     Artistic Design:an Interdisciplinary Subject
     交叉学科的设计艺术学研究
短句来源
     On Artistic Presentation of the Subject Object Relationship in Yuanshi
     《原诗》的艺术主客体关系论
短句来源
     On Artistic Styles
     浅论艺术风格
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Mao Tse-tong′s aesthetic views are the theoretical combination of the nation′s progressive aesthetical ideology and common people′s demand for the appreciation of the beautiful. The unity of the true, the good and the beautiful, and the realization of such unity through struggle constitute the main contents of Mao′s aesthetic views.While admitting the existence of the two forms of beauty——living beauty and artistic beauty, he made a scientific exposition of the relationship between the two kinds of beauty in...

Mao Tse-tong′s aesthetic views are the theoretical combination of the nation′s progressive aesthetical ideology and common people′s demand for the appreciation of the beautiful. The unity of the true, the good and the beautiful, and the realization of such unity through struggle constitute the main contents of Mao′s aesthetic views.While admitting the existence of the two forms of beauty——living beauty and artistic beauty, he made a scientific exposition of the relationship between the two kinds of beauty in the light of dialectical materialism and historical materialism. Mao put great emphasis on the subjective actiuity on the part of the artist and the unity of the artistic subject and the historical subject (ie.artistic object).Furthermore,he proposed a series of aesthetic principles for the creation of artistic beauty, thus bring to light the aesthetic essence of artistic beauty. Mao Tse-tong′s theory of beauty and theory of aesthetic appreciation is subject to his theory of social revolution.His practiee in revolution and his aesthetic ideal pre-deterncined the basic form of his aesthetics——the beanty of sublimity.

毛泽东的美学思想是中华民族先进的审美意识和人民大众的审美需要在理论形态上的集中体现。坚持真善美的统一,并在斗争实践中实现这种统一,是毛泽东美学思想的核心内容。毛泽东肯定生活美与艺术美两种美的不同形态的客观性,以辩证唯物主义和历史唯物主义科学阐释两者的关系,强调文艺家的主体能动性及创作主体与历史主体(艺术对象)的同一性,并对艺术美的创造规律,提出了一系列的美学原则,深刻揭示了艺术美的审美本质。毛泽东的美论和美感论服从干他的社会革命论,他所从事的革命实践和他的审美理想铸造了他美学思想的基本形态——崇高美。

The soul of art is neither realism nor romanticism, neither representation nor presentation, neither preaching of morality nor display and prediction of history. Rather, it lies in the aesthetic freedom, which shows itself in the special nature of the artistic spiritual content, in the development and change of the artistic form, and in the personality of the artistic subject as well.

艺术的灵魂既非现实主义,又非浪漫主义;即非再现,又非表现;非道德的劝善惩恶,又非历史的展示和预言,而在于审美的自由。这种自由,既体现在艺术精神内容特质上,又体现在艺术形式的发展变化上,同时,更鲜明地体现在艺术主体的人格内涵中。

This paper discusses PENG Jia_huang's local,colour fiction from the angle of aesthetics. First it starts with artistic subject, analysing his mode of thinking_"Local Heavyheart" in metroplis by studying his life experience and personality; Second his tragedy creation lies criticizing tradition and exomining man'value; In the last part,this paper makes a detailed exposition of PENG Jia_huang's distinctive aesthetic standards_"smiles full of tears".

从创作主体本身入手 ,通过对彭家煌身世际遇和个性的考察 ,来分析其创作过程的思维倾向即都市里的“乡村忧郁” ,以有效地挖掘彭家煌乡土小说蕴含的悲剧意味 ;指出其悲剧创作体现为对传统的批判和对人的价值的关注两方面的主题倾向 ,并对彭家煌独特的审美倾向即果戈理式的“饱含着眼泪的微笑”进行较为详尽的阐述与论证

 
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