前者具有永恒的生命力，后者却是瞬时的、速朽的。这体现了传统美学与后现代美学的不同。
The former has eternal vitality, but the latter only have short life which show the differences of between traditional aesthetics and Post-modern aesthetics.
海德格尔美学在存在维度上标志着西方现代美学的完成，而在语言维度上又标志着西方后现代美学的开始。
Heidegger's aesthetics symbolizes the end of modern aesthetics from the view of being and the beginning of post-modern aesthetics from language.
19世纪60年代，后现代美学以西方传统美学的否定者的身份登上历史舞台，对传统美学进行了彻底的颠覆。
In the 1960s, postmodernist aesthetics got on the historical stage in the status of a negator to the Western traditional aesthetics, and totally subverted traditional aesthetics.
海德格尔的美学思想以存在为运思目标，它标志着现代美学思想的完成并开启了后现代美学思潮，他也以其存在之思而完成了对传统美学思想的超越。
Targeting at Bing as the goal, Heidegger's aesthetic thoughts have transcended traditional aesthetics, signifying that modern aesthetic ideology has entered to the post-modern stage.
东西方艺术的广泛交流给后现代艺术与老庄美学带来融会与碰撞的契机。
The broad communion of the eastern and western art gives the post -modernism art and the aesthetics of Lao-zi and Zhuang-zi a chance to fuse and collide .
他独树一帜的理论思想对后来的后现代主义、解构主义、接受美学影响深远。
His unique philosophical and linguistic perspectives have influenced many schools, such as later Postmodernism, Deconstruction and Receptional Aesthetic.
“扩张”是后现代主义文学艺术的物理事实，“狂欢”是后现代主义文学艺术的精神实质和美学风格。
"Expansion" is the physical fact of post-modernism literature and art, "revelry" is the spiritual essence and aesthetic style of it.
本文通过阐述设计美学构成要素的变化，即材料、结构、形式、功能的改变，总结出了后现代社会设计美学的三大特征模糊性、艺术性和系统性。
By expatiating the change of the component elements of design aesthetics, this article gives three features of the design aesthetics in the post-modern society: obscureness, art and systematization.
第一章以《消费文化与后现代主义》和《重构美学》为着眼点，梳理了日常生活审美化的理论渊源。
The first chapter of "consumer culture and post-modernist" and "aesthetic Reconstruction" focus, combing the daily life of aesthetic theory of origins.
从而后现代主义美学之后的美学应立足于实践。
Therefore, it is demonstrated that aesthetics after the post-modernist aesthetics should be based on practice.
在计划，这是一个后现代主义建筑美学，但在“英雄”的现代意识。
In plan, this is a post-modernist building but aesthetically modernist in the "heroic" sense.
在计划，这是一个后现代主义建筑美学，但在“英雄”的现代意识。
In plan, this is a post-modernist building but aesthetically modernist in the "heroic" sense.
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