Hope, for Bloch, has its starting point in fear, in uncertainty, and in crisis: it is a creative force that goes hand in hand with utopian "wishful images".
在布洛赫的理念里，希望起于恐惧、未知和危机：它是一种创造力，同乌托邦式“希望的愿景”相辅相成。
This separation, in turn, points to a utopian dimension, an underside of time where futuristic intimations of hope inhere in memories of the past.
这两个层次的分离同时也带出一个乌托邦面向，透过时间的颠倒来辨认过去记忆中所含的，未来的希望。
I hope to have really, can be the child in Utopian world only then.
我倒真的希望有，可那只是乌托邦世界里的产物。
If a vision instead of some utopian fantasy, Fang seems to suggest that even the idealism and hope inherent to such dreamscapes are false and doomed with inevitable pitfalls.
如果画中只是一个愿景，方力钧似乎要表明，即使是充满理想和希望中的仙境，竟都也有著无可避免的缺憾。
Callebaut's designs are certainly fantastical, but it's a treat to ponder them and hope that someday this type of utopian technology will actually exist.
卡勒博的设计虽然只是幻想的作品，但它们也是深思熟虑的作品；并希望有朝一日，这样的乌托邦式设计能够得以实现。
Callebaut's designs are certainly fantastical, but it's a treat to ponder them and hope that someday this type of utopian technology will actually exist.
卡勒博的设计虽然只是幻想的作品，但它们也是深思熟虑的作品；并希望有朝一日，这样的乌托邦式设计能够得以实现。
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