没有文化的人们

基本解释 (translations)

unlearned

与没有文化的人们相关的网络例句 [注：此内容来源于网络，仅供参考]

In my mind nothing pleases God more than love. I do not think it pleases God to codify bigotry. I do not think it pleases God that fear guides the hand of the law in the name of a cultural war.

在也没有什么比去爱更能让上帝满意了，我不相信上帝愿意看到人们禁锢于法律条文，我不相信上帝愿意看到在关于文化的争论中，由恐惧来引导法律，以恐惧作为法律的准绳。

To produce the tremendous impact, make people not at just enjoy the single medium of literature expression means, to the literature of enjoy the way of request also more and more high, now orotund medium and and portrait medium to the work is after carrying on a stereoscopic sex packing regard the writing medium as principle of reading method even let people accept easily, and this kind of newly arisen culture- network the culture melted the meeting the main characteristic of the current public culture, at the same time have its oneself of new characteristics- the freedom of the creations, civilian, and have the ego of performance terrace, thus make some common netizen also really done the author, even is famous, got the similar treatment of master of literature, this text not only did the simple discussion to the basic concept of the literature of network, still thorough of to network literature of development did the simple outlook, this is because the network literature hases already dissolve to go into our life in the middle, if ever of traditional writer still has no accredit network literature, but ignore you how to think, the network literature have already walk to go into us living in the middle.

目前互联网传播速度快，交互性强，和容量大的特点，对传统文学的结构方式，故事情节，形象手段美学欣赏等都产生极大的冲击，使人们不在只是欣赏单媒体的文学表达手段，对文学的欣赏方式的要求也越来越高，现在声音媒体和和图象媒体对作品进行全位立体性包装后以文字媒体为主的解读方式更让人们容易接受，而这种新兴的文化--网络文化融会了当前大众文化的主要特征，同时有着其自身的新特点--创作的自由性，平民性，以及有自我的表现平台，从而使一些普通的网民也着实做了作者，甚至是出名，得到了文学大师一样的待遇，本文不仅对网络文学的基本概念做了简单的讨论，还深入的对网络文学的发展做了简单的展望，这是因为网络文学已经溶入了我们的生活当中，即使有的传统作家还没有认可网络文学，但是不管你怎么想，网络文学已经走入了我们生活当中。

Currently the Internet dissemination speed quick, hand over with each other sex strong, and the characteristics for have great capacity, to the structure method of the tradition literature, story details, image means the esthetics enjoys etc. to produce the tremendous impact, make people not at just enjoy the single medium of literature expression means, to the literature of enjoy the way of request also more and more high, now orotund medium and and portrait medium to the work is after carrying on a stereoscopic sex packing regard the writing medium as principle of reading method even let people accept easily, and this kind of newly arisen culture- network the culture melted the meeting the main characteristic of the current public culture, at the same time have its oneself of new characteristics- the freedom of the creations, civilian, and have the ego of performance terrace, thus make some common netizen also really done the author, even is famous, got the similar treatment of master of literature, this text not only did the simple discussion to the basic concept of the literature of network, still thorough of to network literature of development did the simple outlook, this is because the network literature hases already dissolve to go into our life in the middle, if ever of traditional writer still has no accredit network literature, but ignore you how to think, the network literature have already walk to go into us living in the middle.

目前互联网传播速度快，交互性强，和容量大的特点，对传统文学的结构方式，故事情节，形象手段美学欣赏等都产生极大的冲击，使人们不在只是欣赏单媒体的文学表达手段，对文学的欣赏方式的要求也越来越高，现在声音媒体和和图象媒体对作品进行全位立体性包装后以文字媒体为主的解读方式更让人们容易接受，而这种新兴的文化--网络文化融会了当前大众文化的主要特征，同时有着其自身的新特点--创作的自由性，平民性，以及有自我的表现平台，从而使一些普通的网民也着实做了作者，甚至是出名，得到了文学大师一样的待遇，本文不仅对网络文学的基本概念做了简单的讨论，还深入的对网络文学的发展做了简单的展望，这是因为网络文学已经溶入了我们的生活当中，即使有的传统作家还没有认可网络文学，但是不管你怎么想，网络文学已经走入了我们生活当中。

The persistence of the Chinese restaurant syndrome myth is a symptom of the hypochondria that has become fashionable in contemporary Anglo-American culture, and the failure of our educational systems to teach people the difference between quackery and hard science.

对"中餐馆综合症"谬论的固执坚持其实就是一种臆想症的症状，它已经成为当代英美文化的时尚，也是我们教育体制的失败——因为它没有教会人们如何辨别江湖骗术和自然科学。

My brother pig always jumped onto the roof of the house to mimic the siren's sound at ten o'clock in each morning. The workers whoever heard it came back---it is an hour and a half earlier than the sounding of the siren. Frankly speaking, brother pig was unblamable. After all, he was not a boiler, and the sound he made was a bit different from that of siren, still, the old fellows said it was hard to identify.

第二， "知青"，"肉猪"这些在汉语中为人所熟悉的词，对不了解中国文化/行业文化的人，他们不清楚词语所指，因为中国内地的人往往会把一个稍长的名词简化成二字，如"知识青年"简化成"知青"，时常会误导人们使其以为是某新造之词，从而难以下笔；猪贩知道"肉猪"，但此词也可能是出现在某个地区对阉猪的特有称呼，如果没有加以解释，译者必会大惑不解。

China, although in change, but that broad grand palace still stood erect in there, Beijing, we look up to sacred Imperial Palace, just liked passes through in 5000 by it, all previous dynasties emperor's soul has been surging; That tumbling's mother river was still roaring, she not old, the yellow only represents China's color, that deep our livelihood color turned the whitecap to wash China's hero, billowing east; That deep sleep's green big dragon still wound in the world roof, that greatest the Great Wall procession which makes one praise to the heavens in there protector's all China descendants, is guarding, and is ridiculing that crowd of ants yi; That crowd the blood and sweat spread in the deep loess ground industrious people, still in breeding from generation to generation, that spirit, the Confucian thoughts which, the historian pinnacle of poetic creation, the literature treasure, the mysterious Chinese medicine that inherited, but also had the pride which the achievement dragon taught other people, took Chinese people's be proud, took in the world still the magnificent ancient nation not to be possible to blaspheme only, our full laughing, because of us, because our nationality was such great makes one kneel mysteriously bends down in ground lies prostrate in worship, our country was industrious brave has the bright cultural people by a crowd to be composed honestly like this, we loved motherland!!

China，尽管在改变，但是那恢弘雄伟的宫殿仍屹立在那里，北京，我们仰望神圣的故宫，恍如透过它穿越了5000年，历代皇帝的灵魂在激荡；那翻滚的母亲河仍然在咆哮，她没有苍老，黄色只是代表中国的颜色，那深厚的我们赖以生存的颜色翻着白浪淘尽了中国的英雄，滚滚东去；那沉睡的青色巨龙仍蜿蜒在世界的最高处，那最伟大的令人叹为观止的万里长城盘窝在那里守护者所有的华夏子孙，守卫着、并嘲笑着那群蝼蚁般的蛮夷；那一群将血汗播撒在深黄土地上的勤劳的人们，仍然在一代一代的孕育下去，那精神，那传承下去的儒家思想、史家绝唱、文学瑰宝、神奇的中医，还有作为龙的传人的骄傲，作为炎黄子孙的自豪，作为世界上唯一仍旧辉煌的文明古国的不可亵渎，我们酣畅淋漓的大笑，因为我们自己，因为我们的民族是那样的伟大神奇令人跪伏在地上顶礼膜拜，我们的国家是由这样一群勤劳勇敢正直拥有灿烂文化的人们组成的，我们所爱的祖国！！

You see, if the body of human beings without something of essence of life-----it just is called God----,which can innerly dictates its operation, it is just the material of non-life that can be provided to people for study in field of science and if you study from the angle of art appreciation------just as the works of art exhibited after the bodies having been processed in German---- the material has shown a special value, and here what I specially emphasize on is the body without life is still the indication of civilization and culture of human bengs, but it is like a pile of clothings, and its spirit has already left from under the clothings as the most important and essent existence, and what the appearance of body without life can only bring us the symbols hidden under the body.

你看，人体如果没有生命本质-----这就是神----的东西在其体内指挥其运转时，它们只是科学领域内可以供人研究的物质而在艺术欣赏角度-----正如德国的那些对于尸体加工之后作为艺术品展出的作品----看来，那些物质又具有了一种特殊的价值的存在，而特别强调的是，没有生命的人体仍然是一种人的文化文明的表现，只不过那只是象一堆衣服，其灵魂已经作为这堆衣服下作为人最重要最本质的存在而离开了，而由这无生命的人体的表象所能带给我们的仅是这人体所蕴藏着的符号，最多给我们观察到他们的人们以提示：那曾经是一个被代号**所称呼的人的存在，而他们不再能言语，他们也就没有文化文明了。

This paper therefore examines the development of "the folklore Pai-Chang of Peking opera aria in Tainan city" through literature review depth-interview oral history and participant observation The concept frame is culture organism as the vertical axle and elements of a folklore activity as the transverse axle There are several significant findings about the general picture of this subject: During the late period of Japanese colonial era Tainan local people who played Peguan music learned Peking opera aria and tried to bring Peking opera aria into the folklore Pai-Chang which was one kind performance and traditional custom of Peguan music Some people who came from other places and played Peking opera aria had also known or learned "Pai-Chang" with touching Tainan local amateurs "Pai-Chang" used to be performed by amateurs for worship of god or goddess or for seasoning and wedding celebration without rewards Amateurs volunteered to perform "Pai-Chang" only for their duty temples and fraternity of Peking opera aria The majority of the audience is people who perform or like "Pai-Chang" or who live nearby There is a fixed pattern of the performance including the repertoire and the arrangement of the band The main meaning of this performace is to pray God's blessings therefore the procedure of "Ban-Hsian" is the most essential and ahead of Peking opera aria singing With time goes by the number of the amateurs has dropped; yet the demand for the worship ceremony remains; hence some of the amateurs have been trained to become professional performers Besides although the idea and the meaning of "Pai-Chang" remains the pattern of the performance has become simplified and rigid which is because of the performers' number decreasing and market adapting Nowadays the whole ecosystem of the folklore Pai-Chang of Peking opera aria in Tainan city keep changing which is mainly influenced by the transition of the society(such as the time and space of the industrial and commercial society being compressed and most people's pursuing of specialization and utilitarianism etc ) According to the findings in this paper the phenomenon can be regarded as the subject matter both of Peking opera and folklore studies For the studies of the Taiwanese culture however the subject not only enriches the subject matters of the Taiwanese culture(signifies the localization of Peking opera and a new pattern of Taiwanese folklore) but also reflects the characters of diversification integration adaptation and compromise of Taiwanese culture which used to be influenced by different regimes and the historical contexts Facing such a multicultural context this paper thus suggests researchers should show an open-minded attitude toward the complex of the Taiwanese culture studies and then important phenomenon would not be ignored or misunderstood

代表了什麼意义？对於上述疑惑，查既有研究成果，不消没有论述者，具体提即「京调排场」现象的可说没有，基於此，有必要对台南市及其周边之民俗性京调排场，不管是语汇来由或者其现象本身，做一番研究。本研究透过文献、访谈、口述史、参与观察等方法，以文化有机体之纵的发展概念为经，以民俗表演之横切面各主客要素为纬，试图先对此文化现象调查并推论出一概貌：台南市民俗性京调排场的形成，是在京调传入台南，台南本地北管子弟改习或兼习京调后，结合北管音乐文化所固有的排场表演型态及民俗演出传统，融合而成，形成时间至迟在日治晚期。而一些不同时期的外来京调人士(如原本生长於其他地区、后移住台湾的票友，和中国大陆琴师等等)，也曾透过与当地子弟的接触，而习得或知晓「排场」语汇以及本地京调排场习俗者。此项音乐民俗表演在过往多由业余子弟於神诞或民众婚俗做寿时，对其有义务或交陪的庙宇及子弟间做酬酢性的演出，不收报酬；聆赏者多是京调同好与邻近民众，也有少数路过者；演出模式包括节目安排、乐队编制皆有一定；表演意涵上以「扮仙」祈求神明赐福人间最为重要，因此排仙必不可少，且一定先於京调演唱。随著时间推移，京调排场表演活动的各要素都有变动，惟变迁速度不一，大体而言，业余表演者锐减，人们对酬神娱神节目的需求仍在，因此一些过往的业余表演者遂逐渐转型为职业表演者。此外，虽然表演意涵不变，但在职业表演人员少、又要适应市场的情况下，表演模式亦逐渐流於简化、僵化。目前京调排场整体生态仍在转变的过程中，而这种变化应与工商社会时间空间的被压缩、事事追求专业化与尼Q化等因素有关。再者，据此概貌，在结论部分厘清其意义、定位以及其对台湾文化研究之启示。台南市及其周边之民俗性京调排场现象，可视为京剧研究与民俗研究的一环，然而对於台湾文化研究，除了其题材本身标志了京剧的本土化与台湾民俗活动之新类型，进一步扩充整体台湾文化研究的内容外，更重要的是现象背后所反映的台湾文化的多元融合与妥协适应取向。台湾的海岛地理位置与长期被不同文化背景政权所殖民的历史，其文化自然容易随社会环境改变而弹性适应变迁，呈现多元纷呈、多重覆叠的特色，因此展望未来，从事台湾文化研究应秉除单一观点，保持一定程度之开放与客观胸襟，方不忽视或误识更多重要的文化现象。

Political and technological developments are rapidly obliterating all cultural differences and it is possible that, in a not remote future, it will be impossible to distinguish human beings living on one area of the earth's surface from those living on any other①, but our different pasts have not yet been completely erased and cultural differences are still perceptible.

政治与科技的发展正迅速消除一切文化差异，在不久的将来，人们有可能没办法把地球上一个地区的人与居住在另一个地区的人区分开来，但我们不同的过去还没有完全被抹灭，文化的差异依然清晰可见。

Now it must be taken for granted that simplicity of life and thought is the highest and sanest ideal for civilization and culture, that when a civilization loses simplicity and the sophisticated do not return to unsophisitication, civilization becomes increasingly full of troubles and degenerates.

现在，有一点我们必须承认，单纯的生活和思想是文明文化最高级健全的理想阶段，如果一种文明没有了朴素，圆滑的人们无法回归单纯之时，文明会变得日益退化，满是问题。

与没有文化的人们相关的网络解释 [注：此内容来源于网络，仅供参考]

UNESCO：联合国教科文组织

国内外无论是公众还是专家,一提江南园林必定只认"苏州园林"那种模式,那种氛围,即便是联合国"教科文组织"(UNESCO)亦然那样偏颇. 人们远没有意识到"苏州园林"和"无锡园林"都是历史进程中的不同时段上出现的文化艺术瑰宝.

Mae Nam Chao Phraya：湄南河

曼谷坐落于湄南河 (Mae Nam Chao Phraya) 的东岸,每天都吸引著无数来自乡间的泰国人到此淘金. 据称这座城市正以每年5厘米的速度下沈,但是城有太多的快乐可寻,因此这丝毫没有引起人们的担忧. 由於曼谷是一个文化多元和多种宗教集中的城市,