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进行哲学探讨

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In the view of the description of Secularity and Afterworld in the Quran and the Sunnach, it analyses and induces the concrete contents and thinking.

第二,从伊斯兰"两世"思想的基础、体现及精神实质的角度进行分析、研究,并探讨伊斯兰哲学各个流派对"两世"思想的不同阐释。

Agnosticism is not a denial of the basic problems of philosophy, but a suspension of them.

本文就哲学基本问题的几个方面进行探讨,希望引

The second part makes an innovative study of the soul of traditional Chinese graphics in the respect of "shape","essence", and "implication". The first element to be emphasized is "shape", which is mainly concerned with lineal designs and convolute designs in traditional graphics, the main two ethical factors employed in traditional Chinese design. The "shape" is a relatively complete and minute system. What is included in "essence" is to convey the effect of lucency and artistic conception in traditional plastic art, which embodies traditional Chinese philosophy and its aesthetic taste. The "implication" part makes a detailed analysis of the informative function of the particular ethical graphics from the perspective of disseminative theory. The third part is my application of the three elements in designing.

第二部分是本文的创新之处,分别从"形"、"神"、"意"三方面对传统图形的精髓进行探讨,"形"主要提取了传统造型元素中的线和具有中国民族风格的构成形式——回旋形进行着重分析,有较为详细而完整的结构体系;"神"主要结合中国的传统哲学和审美思想对中国传统造型所追求的空灵、意境进行论述,"意"主要从传播学的角度对传统图形所特有的民族信息传达功能进行分析研究。

In the sixth chapter, the subject of counterfactual space is approached from a philosophical point of view.

从哲学角度的探讨主要是放在胡塞尔的现象学这一框架中进行的。

The change of general valuation judgment of society constitutes the aura and drive for the development of law. The reform and perfecting of law shall concentrate on the value judgment.

其次,围绕着民法的价值理念问题,依次对民法价值理念的独特内涵、现代性以及法价值哲学依据等内容进行探讨。

In 1976, it is the first time for the conception to be put forward by Bernard Williams. Though he didn"t define this conception, his discussion showed the possibility of Moral Luck. And he emphasized particularly on the agent"s recept to apprehend the Moral Luck. Later, Thomas Nagel based on the life to classify the Moral Luck and expatiated. He wanted to integrate Moral Luck with the moral theory of Kant. As a result, it is disappointed. Whereafter, basing on the former philosopher, Anthony Kenny thought that it is impossible for him to abate the strain between Kantianism and Moral Luck. Whereas, Kenny had no intention to followed them.

伯纳德·威廉姆斯于1976年第一次提出"道德运气"的概念,虽然没有对概念本身予以界定,但他的论述肯定了概念的可能性,并侧重从行为者主观的角度来理解道德运气;随后,托马斯·内格尔立足现实生活,对道德运气进行分类论述,并试图将康德的道德理论与道德运气结合,当然结果是令人失望的;继威廉姆斯与内格尔之后,安东尼·肯尼在两位哲学家论述的基础之上,认为他自己也无力缓和康德哲学与道德运气的张力,但无意追随威廉姆斯和内格尔的步调,而是从亚里士多德哲学和中世纪基督教神学中探讨道德运气。

From the perspective of philosophy, this paper absorbs and draws, the experience from the former research finding on the basis of realities to deeply probe into the basis of creative thinking generative mechanism and basic methods in an all-round way. For the purpose of laying a solid foundation of Marist philosophy on studying and cultivating creative thinking.

本文从哲学的角度,立足于现实,吸收和借鉴了已有的研究成果和经验总结,对创造性思维的涵义和主要特征、基础、生成机制和基本方法进行全面深入的探讨,为研究、培养创造性思维奠定坚实的马克思主义哲学基础。

The second part makes an innovative study of the soul of traditional Chinese graphics in the respect of "shape","essence", and "implication". The first element to be emphasized is "shape", which is mainly concerned with lineal designs and convolute designs in traditional graphics, the main two ethical factors employed in traditional Chinese design. The "shape" is a relatively complete and minute system. What is included in "essence" is to convey the effect of lucency and artistic conception in traditional plastic art, which embodies traditional Chinese philosophy and its aesthetic taste. The "implication" part makes a detailed analysis of the informative function of the particular ethical graphics from the perspective of disseminative theory. The third part is my application of the three elements in designing.

第二部分是本文的创新之处,分别从&形&、&神&、&意&三方面对传统图形的精髓进行探讨,&形&主要提取了传统造型元素中的线和具有中国民族风格的构成形式——回旋形进行着重分析,有较为详细而完整的结构体系;&神&主要结合中国的传统哲学和审美思想对中国传统造型所追求的空灵、意境进行论述,&意&主要从传播学的角度对传统图形所特有的民族信息传达功能进行分析研究。

This paper emphatically dissertates on the significance of setting the applicable philosophy and the basic framework of philosophical methodology.

本文将着重对建立应用哲学的意义及哲学方法学的基本框架进行探讨。

On the poet's choice, mainly be decided by two standards, one is the popularity and influences of works; two is the meaning of the creations development that it create for the whole colony. Owing to above two standards, the writer chooses seven writers to launch the treatise, they are Jidi Maja, Jimu Langge, Luwu Laqi, Ma Deqing, Aku Wuwu , Asu Yuer, Eni-Mushashijia. In discussing the process, the writer used the nationality and Poetics of the poem as the latent clues, emphasized to inquiry into three main roads and three main realms. On the article structure, the full text mainly is divided into two parts, one is the concrete imago analysis to each poet creations, two is upon the analytical foundation the integration of the theories, with this the treatise could be united into an organic whole. In regard to the conclusion, we educe the characteristics of the colony is deep consciousness to the nation culture, also extensive exploration and attention to poetics. The blemish is the inside emotion and sensibility is similar or duplicate and that the creation pattern is narrow. The main develop threads of the colony are upon the female clan culture the diverse poem skill investigation, its nation culture value tropism present the rising spiral type of return- leave- return again.

在研究方法上,本文以意象分析法为贯穿全文的主要方法,通过对意象的具体分析来****凉山诗群的诗歌世界;在诗人的选择上以其作品的影响力及意义为标准,选择了这一诗群的七位诗人展开论述,他们分别是吉狄马加、吉木狼格、倮伍拉且、马德清、阿库乌雾、阿苏越尔、俄尼·牧莎斯加;在论述过程上,笔者以诗歌的民族性和诗性作为前后贯穿的潜在线索,着重探讨了这一诗群创作的三个主要倾向和三个主要领域,前者详论,后者略述,具体表现在对前三位诗人的论述以诗人论的形式详细展开,探讨他们所代表的凉山诗群发展过程中的三个主要创作倾向,即民族文化的深层开掘、诗艺的实验性探索和艺术哲学的尝试性建构,对后四位诗人的论述则以主题的方式展开,探讨他们所代表的凉山诗群在爱情诗、乡土诗和文化诗三个领域的探索;在文章结构上,全文主要分为两大板块,一是对各位诗人创作的具体意象分析,二是在前文分析的基础上进行理论的整合,以此将前面散珠似的论述贯穿成一个有机整体;在结论上,我们通过整合得出:1、凉山诗人群新时期以来诗歌创作的大致发展脉络:在母族文化的基质之上的多元诗艺探索,其民族文化价值取向呈现为回归—离去—再回归的螺旋式上升形态;2、新时期彝族凉山诗人群汉语诗歌创作的特点,即民族文化意识的深层自觉,对诗性的关注和探索;3、新时期彝族凉山诗人群汉语诗歌创作的缺陷,即情感意蕴的雷同和创作格局的狭小。

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