王符的《潜夫论》是东汉时期的作品,词汇、语法方面的语言材料比较丰富,能够反映当时的语言面貌.这篇文章主要对《潜夫论》中“莫”字的61个用例进行分析,概括出本书中“莫”字用分为两大类,一类是作为无定代词的“莫”,一类是作为副词的“莫”.在这两大类里面又分了一些小类,并着重说明了一下其中比较特殊的部分,如:由“莫”字组成的否定句中代词宾语后置;“莫”用于差比句中时介词的省略.

the philosophic latent theory is the work of eastern han dynasty period , whose vocabulary, grammar of the language material is very rich, and which also can reflect the language aspect. In this article , to the latent theory , 61 cases the character“ mo“ were analyzed and summarized in this thesis. The character is divided into two categories, one is as a non- pronoun, the other is as an adverb . There are several points and classes in these two categories, which emphatically illustrates the comparison of special parts, such as,the character“mo”is composed of negative sentence pronoun object rear;“Mo”functions as omitted prepositional word in comparison sentences.

王夫之情景相生论的提出，根源于其主客认识论、天人观和心物观。王夫之的情景相生论正是由此为哲学依据，从而实现了其在诗学理论方面的创新。

The root of Wang Fuzhi''s theory of intergeneration of emotion and scenery is his epistemology of subjectivity and ob-jectivity ,his viewpoints of the relationships of nature and human being ,subjective perception and objective things .On the ba-sis of the philosophies ,he innovated in his poetic theories .

文章介绍了分体论的来源及莱斯涅夫斯基对分体论的贡献。从辩证法的角度总结了整体与部分的辩证关系;从形式逻辑理论的角度,阐述了整体与部分的逻辑关系。作为一个哲学的基础理论,分体论在哲学、数学、计算机科学有其广泛的用途。

This paper introduces the origin of mereology and Lesniewski’s contribution to this theory. It elaborates the relationship between the whole and the part from the dialectic perspective and demonstrates the logic relationship between the two concepts from formal logic perspective. As a fundamental theory of, mereology has an extensive application in philosophy, mathematics and computer sciences.

绝对性是卡夫卡现代性体验和文本实践的方式,它为我们重新发现卡夫卡文本的肯定性力量提供了一个独特的阐释视角。绝对性的维度决定着卡夫卡的生活实践,并大于其书写实践的全部;它不仅照亮了卡夫卡书写的隐秘起源,也见证了其犹太性的内部变异。绝对性解释了卡夫卡作品中世俗性悖论产生的原因,从而将卡夫卡的解读从流行的文化政治阐释中脱离开来。卡夫卡文本中的绝对性维度以一种积极的方式批判现代性,在表面的荒诞性中呈现出背后深层的肯定性色彩。

Experience of absoluteness marks Kafka’s perception towards modernity and textual practice, which contributes to the re-discovery of positivity in his writing. Such experience determines Kafka ’s faith in life, takes precedence over his writing practice, enlightens his writing impulse, and witnesses the transformation of Jewishness. It provides an alternative interpretation of the Kafkaesque paradox that is largely obscured by the cultural-political dis-courses. The dimension of absoluteness in his opus presents a deepen positivity underneath the ostensible absurdity and helps to investigate the sense of positivity in his critique of modernity.

纳博科夫创造的独特的小说写作模式及其实验主义精神诠释着小说艺术的后现代写作特征,其作品中的元小说写作模式和道路小说范式折射出纳博科夫小说创作的后现代转向。纳博科夫试图在"文学枯竭论"的后现代论争中超越与建构,阐释着后现代小说艺术的无限可能性。以建设性后现代主义的视角去观照纳博科夫的小说艺术,读者不难发现其小说试图建构的是审美愉悦背后的道德力量和深刻的伦理内涵。

Nabokov’s writing pattern and experimentalist spirit illustrate postmodern features .His metafictional and road novel paradigm reflect the postmodern -oriented change .Nabokov aims to interpret artistic possibility beyond the debate of “the exhaus-tion of literature.” From the perspective of constructive postmodernism , people can find what he tries to reveal is the moral and ethi-cal meaning .