以往美学有两大误区，一是在价值形态之外找美，一是认为审美无功利。
There were two false understandings in aesthetics, one is finding beauty from the outside of value modality, the other is considering that aesthetic exam has not utility.
如果不去客观而无功利思想地探求种纯知识，就不可能取得已有的实际成果。
The existing real achievement can't possibly be made if we don't objectively explore and research this kind of pure knowledge for no purpose of utility .
美学的功利性与无功利性的统一满足了王国维对纯粹知识的追求和情感需要。
The coalescence of the utility and non-utility to the aesthetics meets the needs of his chase of the pure knowledge and the need of affection.
报告文学文本的现实美来源于现实生活，表现在直接的无功利与间接隐伏着的功利性上；
The realistic perfection of reportage version stems from real life. It displays direct no utility and indirect concealed utility;
是的，每个人都有自己的日程，不管他们对我们说什么…而且是在那些极为难得的毫无功利心的瞬间；
Yes, everyone has an agenda, no matter what they may tell us…and in those rare instances where there is no ulterior motive;
介入是无功利的功能在场，是改变我们观看艺术、欣赏艺术的原有的被动方式，但不是简单的机械互动。
Intervention is a non-utilitarian and functional "Anwesen", changing our passive way of viewing art and appreciating art, but it is not a simple mechanic interaction.
其关于“审美无功利性”与“自由美”的命题涵盖了艺术的自律性诉求，成为审美现代性的一个重要特征。
Aesthetic unutilitarian and free beauty directly lead to the self-discipline of art, and therefore become a major characteristic of Aesthetic modernity.
他通过揭示权力与知识的不可分离而对传统的无功利知识的思想给予了彻底批判，认为那是启蒙运动的叙事。
He animadverted on the thought of traditional non-utilitarian knowledge, which narrated by initiatory campaign via disclosing the impartibility of power and knowledge.
“审美静观”是关于审美态度的核心要素，其实质是审美的无功利性。在西方美学史上，康德是最深刻、最系统地论述审美静观的美学家。
The key element of aesthetic manner is "still minded", which explains the basic quality of aesthetics, its nonutilitarianism character.
“审美静观”是关于审美态度的核心要素，其实质是审美的无功利性。在西方美学史上，康德是最深刻、最系统地论述审美静观的美学家。
The key element of aesthetic manner is "still minded", which explains the basic quality of aesthetics, its nonutilitarianism character.
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