帮忙翻译下英语麻烦了
AlthoughKandinskymusthavebeenawareofthis,hecontinuedtopersistintransferringtheyellow-...
Although Kandinsky must have been aware of this, he continued to persist in transferring the yellow-blue polarity to other contrasts, such as warm-cold, active-passive, light-dark, light-heavy, sharp-blunt or allegro-grave. The basic form of this analogical formation can also be found in neurology. So-called maps are often compared with one another in the brain, in order to detect their shared structures-a process that is referred to as >mapping<. The understanding of metaphors has its foundation in the nature of perception. Our sensory perceptions are also strongly interconnected with one another in our brain. Creativity can even be ascribed to the ability to discover similarities in the dissimilar. Through intermodal qualities, such as intensity, other sensually concrete modalities can sometimes be transferred.
Kandinsky persistently insisted that red occupied an intermediate position between yellow and blue and was thus forced to identify red with the right angle, the square and the cube. This also led to mild derision among his colleagues at the Bauhaus and he was very openly criticised by Hannes Meyer. Some students also distanced themselves from this part of his theory in retrospect. A rhyme, presumably thought up by Marcel Breuer, made the round: >rot ist das quadrat und der kreis ist blau-spitzig wie ein dreieck ist die Frau<(squares are red and circles are blue-women are sharp and triangles,too) 展开
Kandinsky persistently insisted that red occupied an intermediate position between yellow and blue and was thus forced to identify red with the right angle, the square and the cube. This also led to mild derision among his colleagues at the Bauhaus and he was very openly criticised by Hannes Meyer. Some students also distanced themselves from this part of his theory in retrospect. A rhyme, presumably thought up by Marcel Breuer, made the round: >rot ist das quadrat und der kreis ist blau-spitzig wie ein dreieck ist die Frau<(squares are red and circles are blue-women are sharp and triangles,too) 展开
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虽然康定斯基一定已经知道了这一点,他继续坚持黄蓝极性转移到其他的对比,如暖冷,主动 - 被动,光暗,轻重,锐利模糊或快板沉静。这种类比形成的基本形式也可以在神经内科找到。所谓地图偶尔彼此在大脑进行比较,以检测它们的共享结构——一个被称为>映射<的过程。隐喻的理解在看法的本质/自然中有其自身基础。我们的感官知觉也在我们的大脑中强烈的相互联系。创造力甚至可以归因于在不同之处发现相似之处的能力。通过联运的素质,如强度,其他感官的具体模式有时可以转移。
康定斯基坚持,红色占据了黄色和蓝色的中间位置,并因此被迫以直角,正方形和立方体识别红色。这也导致他在包豪斯的同事们之间的轻度嘲笑,和被汉斯·迈耶公然批评。有些学生也在回想中对与他的这部分理论置身事外。一段押韵,大概是由马塞尔·布鲁尔想出来,传言:正方形是红色而圆圈为蓝色,女人是尖利也是三角形。)
康定斯基坚持,红色占据了黄色和蓝色的中间位置,并因此被迫以直角,正方形和立方体识别红色。这也导致他在包豪斯的同事们之间的轻度嘲笑,和被汉斯·迈耶公然批评。有些学生也在回想中对与他的这部分理论置身事外。一段押韵,大概是由马塞尔·布鲁尔想出来,传言:正方形是红色而圆圈为蓝色,女人是尖利也是三角形。)
2015-01-14
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虽然康定斯基已经意识到这一点,他继续坚持把黄蓝极性等的对比,如冷暖,主动被动,明暗,轻重,尖钝或快板的坟墓。这个类比形成的基本形式,也可以发现在神经内科。所谓的地图通常与另一个大脑中的比较,以检测他们的共同的结构的过程,称为映射< >。隐喻的理解具有感知的自然基础。我们的感官知觉与另一个在我们的大脑中强烈的相互关联。创新甚至可以归因于发现在不同之处的能力。通过综合素质,如强度,其他感官具体形态有时可以转移。
康定斯基一贯的红黄蓝,占领并因此被迫识别红与直角之间的中间位置,正方形和立方体。这也是LED轻度嘲笑他在包豪斯的同事在他非常公开批评汉斯·迈耶。一些学生也远离这部分在回顾他的理论。韵,推测由Marcel布鲁尔,绕了一圈:>腐这样和德县是布劳spitzig Wie Ein地块是Frau <(广场红圈是蓝色的女人是尖锐的三角形,太)
康定斯基一贯的红黄蓝,占领并因此被迫识别红与直角之间的中间位置,正方形和立方体。这也是LED轻度嘲笑他在包豪斯的同事在他非常公开批评汉斯·迈耶。一些学生也远离这部分在回顾他的理论。韵,推测由Marcel布鲁尔,绕了一圈:>腐这样和德县是布劳spitzig Wie Ein地块是Frau <(广场红圈是蓝色的女人是尖锐的三角形,太)
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