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And it requires us to understand history not in moral terms, such as "good" and "evil," but rather in aesthetic terms.
它需要我们,不是以道德层面去理解历史，去判断好坏“,而是要从审美的角度去看。
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But for Milton's contemporaries in the seventeenth century, Milton's power really wasn't at all aesthetic or even religious in nature.
但在17世纪弥尔顿同时代的人看来，弥尔顿的力量却是毫无美感的，甚至本质上不是宗教上的。
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You could go to Yeats's poem "Adam's Curse" to see the poet talking about this aesthetic ideal.
叶芝在他的诗歌亚当的诅咒里,谈论了他这一美学理想。
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It's a religious image. It's also a gendered religious image; it's also an aesthetic image.
这是一个宗教场景，一个温柔的宗教场景;,也是一个具有审美意味的宗教场景。
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Meanwhile, the number zero is. Alright, it's all zeros 0 so I'll--just for consistency, use four of them here, but that's just an aesthetic.
同时，数字0呢，自然，全部是,只是为了一致性，我采用四个，当然仅仅是为了美感。
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Ideas like this, as I say, are taken from the aesthetic and practical thinking about the nature of the work of art that one finds in Modernism.
这种观点,来自对,现代主义作品美学和实际的考虑。
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That wasn't just because they sort of had an aesthetic pleasure in nice flat fields.
这不仅是因为,平原会给人愉悦的审美享受
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In addition Aristotle tells us such a person will possess beautiful but useless things suggesting the possession not only of wealth but of a kind of cultivated aesthetic sense.
此外，亚里士多德告诉我们,这类的人还将会拥有一些美丽,但无用的东西,不只拥有财富,还有一种经教化的美感。
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It is, in fact, a very deliberate and self-conscious repudiation of that late romantic aesthetic that Yeats's early book, and even the cover of that early book, represents.
实际上，这是一种非常从容不迫有意识的,对早期叶芝的书里体现出的后浪漫审美的抛弃，甚至连早期那本书的封面，都体现出了这种倾向。
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So, we have a kind of image there of the autonomous aesthetic pleasure, right, the pleasure of imagination that's taken alone, according to one's own thoughts rather than in some broader, more social form.
好了，这就是一种自发的美学享受的情景,对，这就是独自幻想的乐趣，它出自人自己的想法，而不是一些更宽广的概念，不是一些更社会化的形式。
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It's a kind of hauntedness that surrounds Nabokov's vision of aesthetic bliss as one's response to that autonomous artwork.
这样对艺术作品，自主性的回应,对Nabokov的审美幸福观点而言，是挥之不去的困扰。
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No new line just 'cause I made an aesthetic call that this looks kinda nice if the prompt stays on the same line.
基于美学等原因,我们就不换行了,让将要打印出的东西跟在其后。
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And there's this third axis called "style," which is really a more subjective aesthetic sense.
还有第三个中心线叫做“设计风格“,那是一个主观的审美学的观念。
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The occult gives Yeats aesthetic forms for understanding individual psychology and historical event.
神秘主义使叶芝从美学角度,理解个人的心理,和历史事件。
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In many ways Yeats retained this aesthetic bias.
很多方面他都持美学上的偏见。
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But that aesthetic image of Dean is all bound up in these negotiations.
但那迪恩的美的形象都沉迷于那些协商了。
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Milton's performing a similar boundary-crossing aesthetic gesture here.
弥尔顿在他的作品中也展现了这种美学上的边界交叉。
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An aesthetic object can be purposeful; that is to say we can view it as purposeful.
美的事物也可以有“目的性“,就是说我们可以带着“目的性“看待它。
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In other words, the experience of reading poetry is not just an aesthetic experience.
也就是说，读诗并不,仅仅是美学的享受。
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Man brings the sense of what the world is into being and then stands aside and somehow sort of takes it in through an aesthetic register or in some other remote way.
人类创造了世界的意义,然后站到了一边，然后,通过美学的认证或其它遥远的方式将其吸收。
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I'd like an integer please, a colon, and a space just for aesthetic reasons.
我想要一个整型数，一个冒号，和一个,使其更美观的空格。
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There is first the understandable aesthetic power, the power of the beauty of Milton's verse, an aesthetic power that's often thought or felt to inhere somewhere in the poetry itself.
首先是美学上的力量，这是可以理解的，弥尔顿的诗句之美的力量，一种美学意义上的力量,大家通常认为或觉得这是弥尔顿诗歌本身固有的一种力量。
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I want it or I disapprove of it and, lo and behold, it's no longer aesthetic. I'll come back to that in a moment, but I hope you can see that that is a distinction between the purposive and the purposeful.
我会产生想法，比如想得到它还是觉得它恶心，你瞧，这样一来就不只是纯审美问题了，我一会儿再回来讲，但是我希望你们现在可以区分,“合目的性“和“目的性“这两个概念了，它们是有区别的。
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The purpose of new form is not to express new content, but to change an old form which has lost its aesthetic quality lost its power to take the film away from our eyes].
新形式的目的不是要表达新的内容，而是要更换已经失去美学价值的旧形式,不能调整我们看世界的旧眼光了。
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We say, "That's a nyewd," and that distinction is what, as it were, bears out the implicit way, the semiconscious way, in which all of us acknowledge there to be a category that we call the aesthetic judgment.
我们会说：“这是个裸体像“，这里面的区别，以一种含蓄的，半模糊的方式体现出来，通过这种方式，我们任何人都承认,的确有一种美学的判断角度。
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It looks like a leaf. It is nature in its aesthetic form as imitation of itself, life as an imitation of life.
它看起来像一片树叶，它是艺术,化的自然，模仿着它自己，用生命模仿生命。
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So, this is the other form that the aesthetic can take. And I think that Nabokov is consistently concerned about these two valences of what the aesthetic can look like.
那么这就是那种审美观念的,另一种形式，我认为纳博科夫一直十分关注这两种审美的,可能形式十分关注。
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Inutile loveliness" is kind of the key word of Nabokov's technique, and he says the novel has as its only purpose to provide aesthetic bliss. So, here is inutile loveliness coming just from seeing the landscape as a stranger.
无用的可爱“是纳博科夫技巧的一个,关键词，他说小说只有一个目的，那就是提供,美学狂喜，所以这里的“无用的可爱“,是把风景当做一个陌生人看待。
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