Art: Guarding the Thing——A Thought on the Thing in This Era;
藝術(shù):物之守護——對這個時代中“物”的思考
The Science of Design:From Creating Object to Accomplishing Affair;
設(shè)計科學(xué):從造物到成事
The relation between reference and objects is regarded as the reference theory in ancient China logic,but there are essential difference and closely relation between them.
指物關(guān)系被稱為中國古代邏輯的指稱理論,指物之間既存在本質(zhì)的區(qū)別,又具有密切的聯(lián)系。
If we carefully study the term "object" in related articles,we would come to know that very often it refers to the objectively existing alternative,or the object image of the writer s vision during his ideation,or even the figure he depicts in his literary work.
對《文心雕龍》中“物”字的準(zhǔn)確理解和把握,關(guān)系到對劉勰的文論觀點的價值的認識和評價問題。
The "Mind" and the "Substance" that are Formed in "Intuitive Knowlege"and Their Relationship——A reasonable annotation of Wang Yangming s Idea "Nothing Exists beyond the Mind";
在“良知”中生成的“心”與“物”及其關(guān)系——王陽明“心外無物”的合理詮釋
Zhuangzi s doubt and denial of all substance and reality,function and utility indicates its doubt of the certainty of the existence.
《莊子》對萬物、現(xiàn)實及利、用等的懷疑與否定表明它對經(jīng)驗與現(xiàn)象的確定性的懷疑與否定。
Productive forces, human ability to conquer and remould nature, can be inter-Dreted as a constitution of“two factors”,i,e, the constitution of man and matter(means ofproduction and object of labour),apart from the constitutioii of the traditional“three factors”.
生產(chǎn)力作為人們征服、改造自然的能力、除了傳統(tǒng)的“三要素”構(gòu)成外，還可理解為“兩要素”構(gòu)成，即把生產(chǎn)力理解為人與物的結(jié)合，這樣能夠更準(zhǔn)確地說明生產(chǎn)力對生產(chǎn)關(guān)系的決定作用。
The text of Mythos is translated into a philosophical text of physics by Aristotle, in which matter is interpreted as physics which provides positions for matter and the history of philosophy is actually the history of the degradation of the physical world.
密托斯(Mythos)文本被亞里士多德翻譯成物理的哲學(xué)文本,物被解釋成物理,物理就是為物質(zhì)提供位序,哲學(xué)史實際上就是物向世界的沉淪史。
The world is the basis for the things to exist on,and the design an aim for usefulness,it is based on the world and the earth.
世界和大地概念是海德格爾后期哲學(xué)及其藝術(shù)分析的中心概念,世界是物具有其存在的基礎(chǔ),在以使用為目的的籌劃中,它是以世界和大地為基礎(chǔ)的,藝術(shù)作品由于不以使用為目的,所以,在藝術(shù)作品中,世界不再閉鎖,從而使得存在的基礎(chǔ)處于去蔽狀態(tài)。
That is, it concerns a question what are Tao and the utility of things.
任何物只要運用得法,都能帶來大用;一切用都資大道的無用而成其用。
Communication with ‘objects ——Young Children s Special Communication Form;
與“物”交往——幼兒獨有的交往形式