查询词典 Chinese and Western

Refers to all medical staff and workers employed by medical institutions, including doctors of Chinese and Western medicine, senior doctors who integrate traditional Chinese therapeutics with Western therapeutics in practice, senior nurses, pharmacists of Chinese and Western medicine, laboratory specialists, other specialists, paramedics of Chinese and Western medicine, nurses, midwives, druggists in Chinese and Western medicine, laboratory technicians, other technicians, other practitioners of Chinese medicine, nursing attendants, pharmacological workers of Chinese and Western medicine, laboratory workers, and other primary medical personnel.

指卫生事业机构支付工资的全部固定职工和合同制职工中现任职务为卫生技术工作的人员。包括中医师、西医师、中西医结合高级医师、护师、中药师、西药师、检验师、其他技师、中医士、西医士、护士、助产士、中药剂士、西药剂士、检验士、其他技士、其他中医、护理员、中药剂员、西药剂员、检验员、其他初级卫生技术人员。

Health Minister Chen Zhu on November 7 in the World Health Organization, traditional medicine of the General Assembly at the opening ceremony that the Chinese characteristics in the medical and health development, always adhere to the principle of attaching equal importance to Chinese and Western medicine; traditional Chinese medicine has always been in accordance with the characteristics and laws of development Chinese medicine, Chinese medicine and Western medicine on the equally important position, adhere to traditional Chinese medicine and Western medicine in the legal, academic, service on an equal footing; incorporate Chinese medicine into the health development of the overall planning, co-ordination, Utilization and system, a system of material and create the conditions for efforts to promote and facilitate the development of Chinese medicine.

卫生部部长陈竺在11月7日世界卫生组织传统医学大会的开幕式上讲话表示，在中国特色的医疗卫生事业发展中，始终坚持中西医并重的方针；始终按照中医药的特点和规律发展中医药，把中医药与西医药摆在同等重要的位置，坚持中医药与西医药在法律上、学术上、服务上的平等地位；把中医药纳入卫生事业发展的总体规划中，统筹考虑，综合利用，并在体制、制度及物质上创造条件，着力推动和促进中医药的发展。

His major works and commissions include: ' Three Temperaments , for Big Choir ' (1986), ' Counterpoint of Times , for woodwind septet ' (1989), ' Wild Children , for mixed Chamber Ensemble ' (1993), ' Overture , for solo Chinese bass drum and Chinese winds and percussion band ' (1994), ' Intonation , for chamber orchestra ' (1990-1994), ' Flavour of Bashu , for two violins, piano and percussion ' (1995), ' Pole , for solo Chinese Yun-luo, Chinese pai-gu and Chinese bass drum with six percussionists ' (1996),commissioned by Japan Asian Percussion Ensemble, ' Symphonic Prelude --- Bashu Capriccio' (1996), 'The Song Without Words , for solo percussion ' (1997), commissioned by the Ministry of Culture of Japan, Japanese Contemporary Music Association, and Japanese Embassy in China,'Illusions of the Symphonic Stage of Tang Dynast y , for orchestra of Tang Dynasty, percussion, voices and a big choir '(1999), commissioned by Japanese No Music Guanshiliu Green Spring Association, Chinese Music Research Center in Japan, Japanese Asian Percussion Ensemble and Japanese-Chinese Cultural Exchange Association,'The Prospect of Colored Desert , for violin, cello, sheng, pipa and percussion '(2000),commissioned by Yo-Yo Ma, Silk Road Project Inc. of the U.S., Sony Record,'Three Movements of Autumn , for small Chinese instruments ensembl e'(2000) and ' Sound Games , for 5 Chinese Percussion Instruments Players ' (2000-01), commissioned by La Cité de la Musique, Paris "2000 Chinese Classical Music Series", ' Fusion I , for Mixed Chamber Ensemble ' (2002), commissioned by Holland New Ensemble and Atlas Ensemble, ' Fusion II , Concerto for Solo Chinese Percussion and Orch.' (2002), commissioned by Japanese–Chinese Committee of Friendship and Public Music Performance, and ' Fusion III , for Irish flute, accordion, bodhran, Chinese sheng, zheng, Percussion and 13 Strings with Chamber Choir.' (2003-04), commissioned by China-Ireland Exchange Program, ' The Three Images from Washing Painting , for chamber ensemble of 17 players '(2005) commissioned by the New Juilliard Ensemble for the special concert of the Juilliard Centennial and sponsored by Asian Cultural Council and the Guggenheim Partnership and 'The Butterfly Dream', new 7 scenes Opera inspired by KUN QU' (2007) commissioned by the Contemporary Legend Theatre, Taiwan etc.

主要作品及委约包括：《三种气质，无伴奏合唱》(1986)、《时间的对位，木管七重奏》（1989）、《野娃子，混合室内乐队与童声》(1993)、《对话，男声独唱，女高音，童声合唱团，混声合唱团与混合乐队》(1993-94)、《序鼓，独奏中国大鼓、排鼓、云锣与中国民间吹打乐队》（1994）、《吟，室内交响乐》（1990-1994）、《蜀韵，两支小提琴、钢琴与打击乐》（1995）、《极，独奏中国云锣、大鼓、排鼓与六位打击乐演奏家》（1996）、《巴蜀随想，交响序曲》（1996）、《无词歌，打击乐独奏》（1997）（日本国文化厅、日本现代音乐协会、日本国驻中国领事馆等联合委约）、《梦的交响舞台，唐代乐队，打击乐，人声与合唱团》（1999）（日本能乐观世流绿泉会、日本中国音乐勉强会、日本亚洲打击乐团、日中文化交流协会等联合委约）、《舞蹈组曲，大型管弦乐队》(1999)、《漠墨图，小提琴、大提琴、笙、琵琶与打击乐》（2000）（马友友、美国丝绸之路文化发展公司、日本Sony唱片等联合委约）、《秋三阕，9位中国乐器演奏家》（2000）、《响趣，5位中国打击乐器演奏家》（2000）（法国巴黎音乐城"2000中国古典音乐系列音乐会"委约）、《融I ，混合室内乐团》（2002）（荷兰 New Ensemble， Atlas Ensemble联合委约）、《融II ，打击乐协奏曲》（2002）（日本日中友好音乐公演委员会委约）、《融III ，爱尔兰笛子、手风琴、巴朗鼓，中国笙、筝，打击乐，13件弦乐器以及室内合唱团》（2003-04）（爱尔兰国家文化委员会、爱中2004文化交流年组委会委约）、《水墨画意三则，为17位演奏家的室内乐团》（2005）（美国朱丽亚音乐学院新室内乐团委约，美国亚洲文化基金会和美国古根海姆基金支助）及《梦蝶，七场新昆剧》（2007）等。

His major works and commissions include: ' Three Temperaments , for Big Choir ' (1986), ' Counterpoint of Times , for woodwind septet ' (1989), ' Wild Children , for mixed Chamber Ensemble ' (1993), ' Overture , for solo Chinese bass drum and Chinese winds and percussion band ' (1994), ' Intonation , for chamber orchestra ' (1990-1994), ' Flavour of Bashu , for two violins, piano and percussion ' (1995), ' Pole , for solo Chinese Yun-luo, Chinese pai-gu and Chinese bass drum with six percussionists ' (1996),commissioned by Japan Asian Percussion Ensemble, ' Symphonic Prelude --- Bashu Capriccio' (1996), 'The Song Without Words , for solo percussion ' (1997), commissioned by the Ministry of Culture of Japan, Japanese Contemporary Music Association, and Japanese Embassy in China,'Illusions of the Symphonic Stage of Tang Dynast y , for orchestra of Tang Dynasty, percussion, voices and a big choir '(1999), commissioned by Japanese No Music Guanshiliu Green Spring Association, Chinese Music Research Center in Japan, Japanese Asian Percussion Ensemble and Japanese-Chinese Cultural Exchange Association,'The Prospect of Colored Desert , for violin, cello, sheng, pipa and percussion '(2000),commissioned by Yo-Yo Ma, Silk Road Project Inc. of the U.S., Sony Record,'Three Movements of Autumn , for small Chinese instruments ensembl e'(2000) and ' Sound Games , for 5 Chinese Percussion Instruments Players ' (2000-01), commissioned by La Cité de la Musique, Paris "2000 Chinese Classical Music Series", ' Fusion I , for Mixed Chamber Ensemble ' (2002), commissioned by Holland New Ensemble and Atlas Ensemble, ' Fusion II , Concerto for Solo Chinese Percussion and Orch.' (2002), commissioned by Japanese–Chinese Committee of Friendship and Public Music Performance, and ' Fusion III , for Irish flute, accordion, bodhran, Chinese sheng, zheng, Percussion and 13 Strings with Chamber Choir.' (2003-04), commissioned by China-Ireland Exchange Program, ' The Three Images from Washing Painting , for chamber ensemble of 17 players '(2005) commissioned by the New Juilliard Ensemble for the special concert of the Juilliard Centennial and sponsored by Asian Cultural Council and the Guggenheim Partnership and 'The Butterfly Dream', new 7 scenes Opera inspired by KUN QU' (2007) commissioned by the Contemporary Legend Theatre, Taiwan etc.

主要作品及委约包括：《三种气质，无伴奏合唱》(1986)、《时间的对位，木管七重奏》（1989）、《野娃子，混合室内乐队与童声》(1993)、《对话，男声独唱，女高音，童声合唱团，混声合唱团与混合乐队》(1993-94)、《序鼓，独奏中国大鼓、排鼓、云锣与中国民间吹打乐队》（1994）、《吟，室内交响乐》（1990-1994）、《蜀韵，两支小提琴、钢琴与打击乐》（1995）、《极，独奏中国云锣、大鼓、排鼓与六位打击乐演奏家》（1996）、《巴蜀随想，交响序曲》（1996）、《无词歌，打击乐独奏》（1997）（日本国文化厅、日本现代音乐协会、日本国驻中国领事馆等联合委约）、《梦的交响舞台，唐代乐队，打击乐，人声与合唱团》（1999）（日本能乐观世流绿泉会、日本中国音乐勉强会、日本亚洲打击乐团、日中文化交流协会等联合委约）、《舞蹈组曲，大型管弦乐队》(1999)、《漠墨图，小提琴、大提琴、笙、琵琶与打击乐》（2000）（马友友、美国丝绸之路文化发展公司、日本Sony唱片等联合委约）、《秋三阕，9位中国乐器演奏家》（2000）、《响趣，5位中国打击乐器演奏家》（2000）（法国巴黎音乐城&2000中国古典音乐系列音乐会&委约）、《融I ，混合室内乐团》（2002）（荷兰 New Ensemble， Atlas Ensemble联合委约）、《融II ，打击乐协奏曲》（2002）（日本日中友好音乐公演委员会委约）、《融III ，爱尔兰笛子、手风琴、巴朗鼓，中国笙、筝，打击乐，13件弦乐器以及室内合唱团》（2003-04）（爱尔兰国家文化委员会、爱中2004文化交流年组委会委约）、《水墨画意三则，为17位演奏家的室内乐团》（2005）（美国朱丽亚音乐学院新室内乐团委约，美国亚洲文化基金会和美国古根海姆基金支助）及《梦蝶，七场新昆剧》（2007）等。

The writer however never explains who constructed this problem and the perpetrators behind it...western ideas, western lifestyles, western eating habits, western industrial models, western agricultural models, western commerce model ...western culture, encroaching like cancer cells on China. It is a pity that even the West has already swallowed its own bitter fruit, and also knew what the problems were, yet, many have come to China with a drive of profit, practice cheatingly those business conducts which are even banned in their own countries. The situation is just like the illegal opium trade about 200 years ago. It has caused China a new poisonous addition.

但作者并没有说明制造这个问题的幕后黑手…西方的思维、西方的生活方式、西方的饮食习惯、西方的工业模式、西方的农业模式、西方的商业模式…西方文化如癌细胞似的在侵害著中国；可恨的是西方已偿到苦果，亦知问题所在，很多甚至在其国家被禁的行为，但在利益推使下都跑来中国，或哄或骗的在中国发展起来，有如二百年前的鸦片一样，令中国中毒上瘾。

Internet promotion: In Ali, the bright acute hearing 360, the Chinese glass net, the Chinese curtain wall net, the fine prosperous international glass purchase net, the glass mechanical device net, the Chinese glass commerce network, the Chinese glass Asia net, the Chinese glass business snares of love, the Chinese building materials commerce network, the Chinese glass information network, the Chinese glass fibrous reticulum, the Chinese curtain wall net, the Chinese everyday use glass information network, the Chinese glass industry network, the Chinese glass craft network and so on in several hundred specialized websites publishes anxiously unfolds meets the advertisement, unfolds in the domestic and foreign famous search website registration meets the information, will unfold promptly can the most recent news issue on-line, will send the electronic invitation broadly using the Internet, will cause to unfold meets the information fast dissemination.

互联网推广：在阿里巴巴、慧聪360、中国玻璃网、中国幕墙网、嘉隆国际玻璃采购网、玻璃机械设备网、中国玻璃商务网、中国玻璃亚洲网、中国玻璃商情网、中国建材商务网、中国玻璃信息网、中国玻璃纤维网、中国幕墙网、中国日用玻璃信息网、中国玻璃工业网、中国玻璃工艺网等数百家专业网站上刊登展会广告，在国内外著名搜索网站注册展会信息，及时将展会最新消息发布在网上，利用互联网广发电子请柬，使展会信息快速传播。

Firstly, we collected and sorted out the GPS data, established the uniform velocity field for the Chinese mainland and the surrounding regions, and the horizontal deformation field relative to the Eurasia plate; Secondly, we established a motion model for the entire rotation and homogeneous strain of the first and second level blocks in Chinese mainland, analyzed the motion pattern and strain behavior of active blocks in Chinese mainland, as well as the motion pattern of principal fault zones in Chinese mainland; Thirdly, considering the heterogeneity of strain distribution inside a block and supposing that the strain tensor inside the block is the linear function of location, we derived and established an equation for the entire rotation and linear strain of block and a motion model for the entire rotation and linear strain of principal blocks in Chinese mainland; We also calculated the principal strain field and the maximum shear strain field in Chinese mainland and the surrounding regions, analyzed the basic characteristics of strain field in Chinese mainland, as well as the relationship between the spatial distribution of strain field and large tectonic zones; Finally, we established the 2-D geotectonic model and digital model for Chinese mainland and the surrounding regions, calculated the stress field in Chinese mainland and the surrounding regions, and analyzed the basic features of stress field in Chinese mainland and the principal driving force for the motion and deformation in Chinese mainland.

收集整理了已有GPS资料，建立了中国大陆及周边地区统一的速度场以及相对欧亚板块的水平形变场；建立了中国大陆一、二级地块整体旋转与均匀应变的运动模型；分析了中国大陆活动地块的运动状态，应变状态，以及中国大陆主要断裂带的运动状态；考虑到一个块体内部应变张量空间分布的非均匀性，假设块体内部的应变张量是位置的线性函数，推导建立了块体整体旋转与线性应变方程，建立了中国大陆主要地块整体旋转与线性应变的运动模型；计算了中国大陆及周边地区的主应变场与最大剪应变场，分析了中国大陆应变场的基本特征，以及应变场的空间分布与大型构造带的关系；建立了中国大陆及周边地区二维的地质构造模型和数值模型，计算了中国大陆及周边地区的应力场，分析了中国大陆应力场的基本特征以及中国大陆运动、形变的主要驱动力。

Chapter Six argues that the western preachers\' Euoropeanized vernacular versions of English Bible or Christian hymns played an unestimable part in late Qing dynasty\'s vernacular Chinese movement, the May 4~ vernacular Chinese movement and the May 4~ free verse movement by carding the diachronic change of Chinese literary language at the turn of 20~ century and looking into the relationship between the western preachers\' Chinese versions of English Bible or Christian hymns and the May 4~ vernacular Chinese, especially the free new verses written in the vernacular. The chapter concludes that the activities of remolding classical Chinese by the western preachers at the end of 19~ century are one of the sources of the May 4* new literature, one of the sources of the May 4~ new poetry in particular.

第六章通过梳理中国近代文学语言的历时流变，探究了十九世纪末西方传教士由于基督教圣诗和赞美诗的翻译而对汉语进行的改造活动与五四白话文运动，尤其是与白话新诗的关系，提出了西方传教士19世纪末开始的欧化白话翻译对晚清白话文运动、五四白话文运动以及五四新诗的历时嬗变均有着不可低估的影响和价值的观点，认为他们的翻译活动也是五四新文学，尤其是五四白话新诗的重要源头之一。

As everyone knows, since the Chinese Government to lift the ban, brought about a turning point to the Chinese, have the Chinese language schools throughout the country in l966, despite being banned, but the friendship between the alumni are still not absolutely continuous with the Chinese culture is still Needless relationship doubt, as a link in the activities of various alumni lifting of the ban after the Chinese, have sprung up, the Chinese Government attaches importance is reflected not only in the highest levels of policy making, but also for the Chinese to take quite open attitude, in such historical conditions , Alumni play a vital role in the major cities and towns are active in the Chinese one by one from the Chinese community organizations to set up non-professional Chorus and Choir, alumni, such as silver will be the enthusiasm of the growing number of aspects, As people on the amateur requirements of the diverse cultural life, especially Chinese singing is still the largest of the fun of life, the choral music as a form of life as an option, the activities carried out by the chorus, not the pursuit of music career the highest ideals, only enriched the cultural life of Chinese amateur in the chorus of collective experience in the art of choral charm problems, temperament, for the building of a harmonious society.

而他们选择了前者， They chose the former，众所周知，自政府解除对华文的禁令，给华人带来了转机，曾经遍布全国的华文学校虽然在l966年被查禁，但校友之间的情谊仍然绵绵不绝、与中华文化的亲缘关系仍是毋庸置疑，以此为纽带，各类校友的活动在华文解禁之后，如雨后春笋般涌现出来，目前政府对于华文的重视不仅体现在最高决策层，还对于华文采取相当开放的态度，在这样的历史条件下，使校友会发挥巨大的作用，当前各大中城市和乡镇中活跃着一个又一个由华人华社组织兴办非专业合唱团和歌咏团、校友会、银会的热情等方面数量日益增长，也随着人们对业余文化生活要求的多样化，尤其唱歌仍然是华人生活中最大的乐趣，把合唱作为音乐艺术的一种形式，生活的一种选择，通过合唱活动的开展，不追求音乐艺术生涯的最高理想，仅仅丰富了华人的业余文化生活，在合唱的集体中感受合唱艺术的魅力，陶冶性情，为构建和谐社会作出贡献。

Farther, this chapter tries to hold a dialogue between the native and the West on a new level of Sino-western mutual understanding, thus, the chapter, with the basic idea of"comparison equals dialogue", launches a discussion focusing on four features: the widely-ranged introduction from anti-alienation spirit, modern humanitarianism and individualism in Western modern art to the anti-Confucianism in Chinese cultural tradition; the seek for the essence of Western modern abstractionist art in Chinese traditional intellectual art atmosphere; the decoding of Western modern non-rationalism based on native cultural tradition; and the discussion on relations between"The Harmony Between Heaven and Man"and Western postmodernism.

于是本章基于"比较即对话"的观念，围绕四个问题展开了讨论：从西方现代艺术的反异化精神、现代人道主义、个人主义说到中国的"反儒文化"传统；在中国传统文人艺术境界中寻找西方现代抽象艺术的真谛；对西方现代非理性主义进行基于本土文化传统的解读；探讨天人合一精神与西方后现代主义的联系。

Through comparing with the results by simulation to study the effects of theprojectile"s final velocity, the angle of rotation and the ballistic trajectory"s migration withdifferent projectile"s rotating speeds, different target"s moving speeds and differentpenetration angles.

通过比较数值模拟的结果来研究不同弹头转速、目标速度、侵彻角对侵彻过程中弹头最终速度、翻转角度和弹道偏移的影响。

I love stationery and all the accoutrement of writing.

我爱文具以及所有的书写的工具装备。