第四章讨论对话美学的审美经验论。
The fourth chapter studies on the aesthetical experience theory of the dialogism aesthetics.
审美经验也面临着界定的困难。
The Esthetic Experience is also facing the difficulty which limits.
姚斯后期的研究主要致力于对审美经验的研究。
In his later research, Jaussdraws his attention in aesthetic experience.
艺术的审美经验是否存在着客观的生物学基础？
Is there an objective biological basis for the experience of beauty in art?
接受史研究是为了沟通古今审美经验，让古典走向现代。
The history of literary reception modernizes the classical aesthetic experience.
因而，审美经验与审美体验场之间存在着交涉互动的状况。
Therefore, between the Esthetic Experience and the Esthetic Experience field between has the negotiation interaction the condition.
在这样一个多元化的时代环境中审美经验的概念需要重新阐释。
The Esthetic Experience's concept needs to be explained in this kind of Diversity Time environment.
再现、表现、艺术形式、审美经验和审美属性也是很令人感兴趣的。
Representation, expression_r, artistic form, aesthetic experience and aesthetic properties are also of great interest.
再现、表现、艺术形式、审美经验和审美属性也是很令人感兴趣的。
Representation, expression, artistic form, aesthetic experience and aesthetic properties are also of great interest.
第二、三章具体化和审美经验是文学的艺术作品认识论的核心内容。
Chapter two, three, concretization and aesthetic experience are main subjects of epistemenology of the literary work of art.
实用主义美学观与翻译研究。 应注重审美经验与日常生活经验的联系；
Its aesthetic view enlightens the translator on the attention to the relation between aesthetic experience and everyday experience.
而《西厢记》恰恰既反映了人们审美经验的一致性又反映出审美的变化性。
The Romance of Western Side reflects the coherence and changes of aesthetic experience.
针对生活经验如何转化为审美经验的问题，本文试图结合古典的相思诗来研究。
This thesis tries to research the problem of practical experience that turned into aesthetic sensation with classical Love poems.
文章以英汉小说翻译为例，分析对外汉语教学中英汉翻译小说的运用及审美经验的培养。
The paper discusses the use of Chinese versions of English novels in TCFL and the cultivation of aesthetic taste and experience in this process.
小品造型不符合人们的审美经验，不能与环境较好的结合在一起，并且与城市文化相悖。
Some strange shapes, bright colors and strong do not meet the people's aesthetic experience, can not be a better combination of environmental and inconsistent with the urban culture.
母语化是对中国传统审美经验作充分的借鉴和吸收，以激活汉语言在文学表达上的诗性和灵性。
Having made a sufficient reference to traditional Chinese aesthetical experience, Vernacularizing tends to stir up the poetry characteristic and liveliness of Chinese language in literary expression.
无论是对美本身的探究还是对审美经验的考察，审美对象是一个必须认真加以对待的理论问题。
Whether in the investigation of the beauty itself or in the examination of the aesthetic experience, the object of aesthetics is a theoretic question that should be seriously taken.
它由审美感觉层次、审美经验层次和审美直觉层次三个有机部分构成，成为巴金艺术创作的根基。
It is made up of three levels, namely, aesthetic feeling, aesthetic experience and aesthetic intuition, all of which are the foundation for Ba Jin's artistic and literary creation.
意象的创构以主体的审美经验为基础，通过主体独特的眼光和比兴的思维方式等，借助于想像力而达成的。
With the unique eyesight and the thinking method of the Bi and Xing, the imagery construction is completed by the imagination on the basis of the subject 's aesthetic experience.
“心境交融”的审美经验结构建立在反思基础上，它无论从形式还是内容上都是直接来源于禅佛教的精神反思。
Expounding the structure of this aesthetic experience, this paper makes clear that it is based upon a spiritual reflection, a reflection comes directly from Buddhism either in its form or material.
研究新一代青少年成长过程中受到怎样的审美影响，形成了怎样的审美经验，对于将来的工业设计是非常重要的。
Therefore, researches on the aesthetic influence on the youth and their aesthetic experience are very imperative for the future industrial design.
从空间维度来看，图像时代的审美经验被包裹在复杂凌乱的图像碎片中，这些碎片构成了图像时代的审美体验场。
Seen from the spatial dimension, the Image Time Esthetic Experience is wrapped in the complex disorderly image fragment, these fragments constituted the Image Time Esthetic Experience field.
在图形设计中采用写意造型方法，能使设计意念的表达更显符号化与象征性，同时也丰富观者感受层面与审美经验。
Such a modeling method in graphics designing will make the expression of designing idea more symbolic and perception of the receivers more colorful and individual.
本文着重探讨了贝克的非洲裔美国女性诗学中的时间意识，认为贝克的理论所强调的是变化的时间和审美经验的时间。
The present paper discusses the time in Baker's poetics of Afro-American women's writing, and argues that what he emphasizes is a kind of changing and aesthetic time.
它是现象学研究方向过渡到审美经验的重要成果，比其前辈更重视以审美知觉和审美对象为主要内容的现象学理论构建。
Its an important outcome caused by the transition from the study of the phenomenal science to the aesthetical consciousness and the aesthetical object more than his predecessor.
英伽登认为审美经验活动开始于对实在事物的认识，审美对象是审美经验的产物，但是审美对象不同于实在事物，审美对象形成后也不局限于实在事物。
In Ingarden s opinion, the aesthetic experience begins with the cognition of the real object, and the aesthetic object is the result of the activities of the aesthetic experience.
英伽登认为审美经验活动开始于对实在事物的认识，审美对象是审美经验的产物，但是审美对象不同于实在事物，审美对象形成后也不局限于实在事物。
In Ingarden s opinion, the aesthetic experience begins with the cognition of the real object, and the aesthetic object is the result of the activities of the aesthetic experience.
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