理想精神

As for the spirituality that we can feel in this times, these images can only put themselves in the abysm of nothingness, while it tries to demonstrate a kind of posture of flying and climbing, it is ready to look for the grounding for his position.

因为，道德往往正是宗教、神话或哲学的图解，这类形象最大的弊病，是会泄露出理念的源头，使作品充满了说教的色彩，显得僵硬、浅薄，并且与意识形态的措辞相类似，而且，包含于艺术家头脑之中的信仰和理想往往是含混的，它们并非以真理性内容的价值，而是依凭形象的表现力来感召观众，就我们这个年代所能触摸到的精神高度而言，这类形象只能将自己悬置于空洞的深渊之中，它在尽力显示翱翔和攀升姿态的同时，随时都需要寻找让自己站得住脚的理由。

My paper firstly turns on the time of Kaogongji, puts it in axes-age and sums up the characters from our ancient art design which it starts from the analyzing of "Qi" and "Wu".So we can draw our research clue and orientation: manufacture whose core is "Li";And then we will make particularly aesthetic analyse about the text.We will make it clear about the realations between " Li" and "Qi", concept and res, taste and res , and my paper will tell of three part:conceptual design—age idea" s effect on Kaogongji" s taste;human design—human spirit in Kaogongji" s art design;imitate design—accouterment" s taste of Kaogongji. In the text ,I will also tell of the following problems:Li and Kaogongji" s design idea, like-six idea and Kaogongji" s taste ideal, nature-human and Kaogongji s zoology idea.

本论文首先切入《考工记》的时间定位问题，把它放在轴心时代的大背景下，之后从"器"和"物"二字的文字学分析出发，对我国古代艺术设计的总体特征进行了概括，进而以此背景审视《考工记》一书的工艺美学思想，确定本文对该书的研究思路和定位，即以"礼"为核心的器物制造；然后具体进入文本进行细致的美学视角的分析，为廓清"礼"与"器"、观念与器物、审美风尚与器物等关系理顺思路，论文分别从观念化设计——时代观念对《考工记》审美取向的影响、人机化设计——《考工记》艺术设计的人文精神、仿生设计——《考工记》中装饰物的审美追求这三个大方面进行研究，涉及到礼制文化与《考工记》的审美设计理念、"尚六意识"与《考工记》的审美理想、"天人合一"与《考工记》的审美生态观等诸多问题。

Rice-growing culture is a culture which formed in a society of growing rice, that is to say, an integration of social activity and cultural life which were based on rice-growing .The culture not included only the techniques and its spread of rice-up growth-and-evolution, but various intellectual norms of civilian life style, religious custom, convenance, as well as cultural mentality, society and aesthetic ideal and so on, which people who grew rice have possessed.

所谓稻作文化即稻作农耕社会形成的文化，亦即因从事稻作生产而产生出来的有关社会生活的、精神生活的综合，它不仅包括有关水稻主体的产生、发展及稻作生产技术传播等一系列问题，而且还包括由稻作生产影响所及的民间生活方式、宗教民俗、礼仪，以及稻作民族特有的文化心态、社会道德、审美理想等诸多精神准则。

In the horizon of the Shandong essayists, they have been working to be creative prose, self-development and Qilu culture combines closely together, and thus at large to the nature, society, human, small to life ,concept, human, on the all aspects of subjective judgments, there are those who have rational statement said on historical experience and ethical culture, there are those idealists having watch feelings in the process of looking for the cultural and spiritual roots, there are also those intellectuals call for the moral on the worrying about the ecological environment, the implication of the display is the convergence and recycling with the spirit of Qilu culture in the new era.

在山东散文作家的文学视域里，他们一直努力将散文的创作、自我的发展与齐鲁文化紧密地揉合在一起，因而在对大至自然、社会、人类，小至生命、观念、人性等各个方面的主观判断中，既有反思者在历史遭遇与道德文化面前的理性言说，也有理想主义者在寻根文化和精神过程中的守望情怀，更有忧心忡忡的知识分子在生态关怀中的道德呼吁，这些意蕴的展示正是新的时代洪流下齐鲁文化精神的汇聚与再造。

But failing such a provision, the antics in these purported vestibules of heaven did little to convince Englishmen, unspiritual or simply less spiritual, that utopianism was a desirable option.

但是没有这样的规定，滑稽在这些所谓的门廊的天堂并没有说服英国人，非精神的或者只是少精神，是乌托邦主义是一个理想的选择。

The appeal to "African Personality" or "Negritude" as a trend of thought in the 20th century was a banner upheld by the black continent in its drive towards revival and unification, an ideal objective that Africans identified themselves with.

为实现这一目标，非洲大陆需要建立某种可以显示自己存在权利与价值的精神文化体系，并以这种精神文化体系作为动员人民反抗西方殖民主义统治的旗帜和理想。

Just in this sense, the literary practice in those seventeen years manifested the sharp historic dialectical spirits and made any simplified true-false judgment be shallow and puerile before the real historic reality.

当然，这并不是说作为其创作成果的文学文本的精神情感取向与作家自觉意识到的政治理想、政治价值就没有任何断裂之处，对于那个时代来说，真正具有典型意义的恰恰在于政治理性对这一断裂的清醒监控，正是在这个意义上，17年的文学实践表现出了深刻的历史辨证精神，使任何简单化的对错判断在真实的历史现实面前失之浅薄和幼稚。

Just in this sense, the literary practice in those seventeen yearsmanifested the sharp historic dialectical spirits and made any simplified true-false judgment be shallow and puerile before the real historic reality.

当然，这并不是说作为其创作成果的文学文本的精神情感取向与作家自觉意识到的政治理想、政治价值就没有任何断裂之处，对于那个时代来说，真正具有典型意义的恰恰在于政治理性对这一断裂的清醒监控，正是在这个意义上，17年的文学实践表现出了深刻的历史辨证精神，使任何简单化的对错判断在真实的历史现实面前失之浅薄和幼稚。

To be specific, the thesis will take the novelist and his works as an integer by putting them into the transformation of the society, its social-historical thoughts and culture context, by observing the novelist and his works from thoughts resources to the development, from the thematic diachronic evolvement to the synchronic cultural comparison, from the innate writing talents to the unavoidable psychological dilemma, and therefore, grasp the research object wholly.

寻根探源历来是研究作家创作思想的重要方法和不可或缺的步骤，但当前对张炜小说创作&思想资源&的研究却不多见。本文认为，张炜小说创作的&思想资源&多元而丰富：儒家文化的入世情怀与仁爱思想，道家文化的天人合一与自为自在精神，鲁迅的启蒙观念与理性精神，俄国文学的道德理想与苦难意识，民间文化自由与奔放的人间情怀，及以&焦虑&、&绝望&为认知特征的现代西方哲学等等，都对张炜小说创作思想的形成、发展产生了重要影响。

This article from the "Queen Mab" is the ideal embodiment of Shelley's writing, the narrative of the poet Shelley, as the world's "legislators," the inevitability of social change as an abstract spiritual or universal spirit of nature, but also wrote "Mak cloth Queen "was the immortal works of art in society, discusses the" Queen Mab "is the realism and romanticism, and the organic combination of magnificent poem literary styles, Bifeng sharp, emotional thick.

本文从《麦布女王》是雪莱理想化身写起，叙说了雪莱视诗人为世界的&立法者&，把社会变革的必然性看成是抽象的自然精神或宇宙精神，又写了《麦布女王》是当时社会中不朽的艺术杰作，论述了《麦布女王》是现实主义与浪漫主义有机的结合体而且长诗文采瑰丽，笔锋犀利，情感浓烈。

Chrysanthemum of 10 thousand birthday is lax to edaphic requirement, with the arenaceous qualitative loam with fecund, good drainage had better.

万寿菊对土壤要求不严，以肥沃。排水良好的砂质壤土为好。

He unstepped the mast and furled the sail and tied it.

他拔下桅杆，把帆卷起，系住。