In this section my central concern

In this section my central concern is both with elucidating dominant principles by which arrays of artefacts are ordered and with showing how these are derived by means of different methodologies developed for the study of material culture. Both historians and anthropologists have argued that particular societies or particular historical periods have tended to emphasize particular principles of classification. Foucault, for example, divides European history into separate ‘epistemes’ based on the dominant principle of classification employed in each. He argues that with the rise of natural history, sight became dominant over smell and touch (1970:132–3), while forms of resemblance and affinity were similarly demoted as against other principles of order. With the rise of the sciences it was not enough to assume that a root which happened to have a shape reminiscent of the human body was therefore likely, when eaten, to have an effect upon the body. Rather, from systematic collections of natural objects, such as butterflies or rock forms, patterns of affinity were sought which could then be analysed in conjunction with consistent theories of their connectivity.

結果 (繁體中文) 2:

在本節中，我最關心的是闡明對文物陣列進行排序的主導原則，並說明如何通過為研究材料文化而開發的不同方法來推匯出這些原則。歷史學家和人類學家都認為，特定的社會或特定的歷史時期往往強調特定的分類原則。例如，福柯根據各自採用的分類原則，將歐洲歷史劃分為單獨的"顯性"。他認為，隨著自然歷史的興起，視覺在嗅覺和觸覺上佔據主導地位（1970：132–3），而相似和親和的形式與其他有序原則相似。隨著科學的興起，認為根的根碰巧具有讓人聯想到人體的形狀，在食用時很可能對身體產生影響，這是不夠的。相反，從蝴蝶或岩石形態等自然物體的系統收集中，尋求親和模式，然後結合其連通性理論進行分析。

結果 (繁體中文) 3:

在這一節中，我主要關注的是闡明排列藝術品的主要原則，並展示如何通過為研究物質文化而開發的不同方法來獲得這些原則歷史學家和人類學家都認為，特定的社會或特定的歷史時期往往強調特定的分類原則例如，福柯將歐洲歷史劃分為不同的“認識論”，其依據是每一種認識論所採用的主要分類原則他認為，隨著自然歷史的興起，視覺在嗅覺和觸覺上占主導地位（1970:132-3），而相似性和親和力的形式與其他秩序原則一樣被降級隨著科學的興起，僅僅假設一根恰巧有著讓人聯想到人體的形狀的根在食用時很可能對人體產生影響是不够的相反，從蝴蝶或岩石等自然物體的系統集合中，尋找親和力的模式，然後結合它們連接性的一致理論進行分析。