查询词典 Chinese and Western

Actually, if we want to seriously discuss about 'Modernity', we'll find out that this issue has an awkward situation in China. Let's forget about the sociological issues and let's simply start from visual arts. The old generation of artists who brought western arts to China, actually brought along western classic arts academism that is just small part of western classic art, and it's far of being exhaustive. Furthermore, what they brought along went through many changes due to the contact with revolutionary realism and local culture. The result of this process was what was called "Modern Art" in China. After having arrived in China, a part of the western artistic academicism became "Chinese Modern Arts" and this misplacement still exists. Perhaps it comes from a creative misreading, however whether it has the capability of becoming an independent system or not, still remains uncertain.

事实上，当我们想认真的讨论"现代性"时，就会发现这一问题在中国有着极其尴尬的处境，且不谈社会学角度，从视觉艺术这个很小的角度切入，将西方艺术带入中国本土的老一代艺术家们带来的其实是西方学院派的艺术，是西方古典艺术的尾巴或被革命现实主义化了的西方古典艺术，而被带入中国本土后却被称为"现代艺术"，直至今日当代艺术在西方的学理支撑到了中国本土变成了被断章取义的只言片语，这其间"错位"一直存在着，或许这是一种有创造性的误读，但误读的主体是否具有独立消化能力的系统值得商榷。

The form discussion studies Liang Zongdai and Ye Gongchao respectively introduced and spreaded the French imagism and British and American formalism. The Poem special issue in the literature and art supplement of Ta kung Pao Newspaper and New Poetry organized twice discussions in poetic forms. The pure poetry school introduced that the modernists introduced the western and ancient pure poetry theories: from Baudelaire, Mallarme, Vale'ry, H. Read, A. Bremond to J.M. Murray, and the basic idea and difference of pure poetry. Besides, a lot of modem poets became greatly interested in pursuit heat of the pure poetry in late Tang and Nan Song dynasties, studying the development and variation of pure poetry. Music theory argues that modernists make introduction and reform on the western and Chinese music theory. He Qifang and Bian Zhilin continue the topic to the contemporary time, and put forward the theoretical frames in Chinese poetry. Rhyme and rhythm theory make researches on the introduction and reform of French symbolism and British and American modernists' rhyme and rhythm theory, making studies on the Chinese new form poetry and its thyme and rhythm theory.

纯诗论是形式论的重心；对西方和古代的纯诗理论之引入，引进了从坡到波德莱尔、马拉美、瓦莱里、默里、里达、白瑞蒙的纯诗理论；纯诗理论的基本内涵与差异；诸多现代派诗人掀起了晚唐南宋纯诗热，对姜夔、严羽作了新的理解；对纯诗理论的发展和变异，含梁宗岱的现象学形式论，何其芳的唯美论与形式论，现代派诸人的诗本体论；梁宗岱对纯诗理论的中国化研究，含梁宗岱的超越性与形式性，"超验"与"妙悟"的比较研究与形态超脱性的比较研究；中西纯诗形态的超脱性等；现代派纯诗论是对初期白话诗理论的清算，对新月派、象征派探索的总结和发展，音乐论是对纯诗论的延伸和对格律论的发展；现代派引入研究了西方诗学音乐论理论，含坡、瓦莱里、里德的纯诗音乐论、抽象音乐论、各种具体的音乐论技术论点；引入了中国古代诗学中关于诗与音乐、音韵、音顿、音义、平仄双声叠韵等音乐的理论；进行了两次关于新诗音乐论的大讨论；在节奏、音顿、音韵三方面借鉴了西方的理论，同时改造了古代的格律理论，扬弃了平仄说，何其芳、卞之琳把新诗音乐论命题延续到当代，提出了汉诗音乐论的理论框架。

Chinese medicine theories emphasize allelopathy, Western theoretical emphasis on Chemistry and Health Physics domain, both the theory and the verification process is totally different; Chinese medicine doctors to do the world line must meet the same phenomenon in the same conditions, different conditions are different phenomena; but the actual clinical course of Chinese medicine, there are differences Tongzhi disease varies with disease governance success stories to attract attention to Western theory.

中医理论强调相生相克，西医理论偏重化学与生物理域，两者理论与验证过程完全不同；中医要作到医行天下必须达到同样条件同样现象，不同条件不同现象；但中医实际临床过程常出现异病同治与同病异治的成功案例，吸引西医理论的重视。

Chinese family business is on the up grade after the reformation and open to international economy. But local research also lack to synthesize analysis to system of western family enterprise, and need to be used as a mirror the western family business enterprise, and come to outlook the future of the Chinese family business, and to face the problem that appear in Chinese family business development and draw lessons from already some experience with the development regulation of the family business with deep comprehension.

中国家族企业在改革开放后正方兴未艾，但国内的研究也缺乏对西方家族企业系统综合分析，需要将西方家族企业作为一面镜子，来展望中国家族企业的未来、正视中国家族企业发展中出现的问题、借鉴已有的经验和深刻理解家族企业的发展规律。

It tries to find the special ethos of Chinese nationality as in opposition to western cultural universalism. However, the overall interpretation of China by historicism is ambiguous. Of western civilization, Chinese historicism rejects its value of Enlightenment but accepts its dangerous idea of statism. It can be predicted that the alternative modernity Chinese historicism is pursuing will end up being a de-valued and de-ethicized state power with its system legitimized in the Weberian fashion.

它试图发现中国特殊的民族本真性，以对抗西方的文明一元论，然而，历史主义对中国的整体化诠释是暧昧的，在抛弃西方文明中启蒙价值的同时，却吸纳了其可怕的国家主义，最终其所追求的另类现代性，只是一种去价值和去伦理的国家富强和韦伯式的制度合理化而已。

On the external characteristics of language, Chinese May 4th "Europeanized" was showed mainly on two aspects: Firstly, a large number of new words and phrases carrying modern western ideology were systematically translated or created. Secondly, in the range of Chinese could be allow to change, the Western grammar was referenced and transplanted into China, which changed the structure of Chinese grammar and make Chinese expression more precision.

从语言的外部特征来说，五四汉语的&欧化&主要集中在两个方面：一是在词汇上，系统地翻译或创造了大量承载西方近代思想的新名词；二、借鉴、移植西语语法，在汉语可以变动的范围内，改造汉语语法结构，使汉语表达趋于精密。

Transcription, and analyzes Wangs inheritance, reproduction and development of Chinese ethical folk music. She also makes transverse comparisons between the musical forms of piano works by composers of both China and abroad, and illustrates that Wang uses for inference but not copies the western musical forms, that he attaches importance but not stickles to the framework of traditional Chinese music, and also that he demonstrates a characteristic of not sticking to one pattern. She makes contrastive comparisons as well of the melodies and harmonies of piano works by composers of both China and abroad, and indicates that in inquiries into the folk style of counterpoint, Wang is flexible and creative in harmonies by inheriting the character of a clear melody and the method of multi-voice in Chinese traditional music and also by absorbing the character of emphasizing the layers of texture in western piano music.

拿民族民间音乐与钢琴改编曲作纵向比较，分析其对中国民族民间音乐的继承再现与发展；拿中外钢琴作品的曲式原则作横向比较，说明他借鉴但不照搬西方音乐曲式规范，重视但不拘泥于传统中国音乐结构方法，在作品的结构上，呈现出不拘一格的特点；拿中外钢琴作品在旋律、和声等方面作相异比较，指出了在探索多声部音乐的民族风格过程中，王建中一方面继承了传统音乐中旋律线条十分突出的特点，另一方面又吸收了西方钢琴音乐注重织体的网状结构的特点，有意识地运用了我国民间多声手法，在和声的运用方面表现出灵活多样而又富于创新的特点。

The modernization process of modern Chinese literary criticism is the result of the struggle of shedding the confinements of classical Chinese criticism and identifying whole-heartily with the Western arts and literature, and a process of saying good-bye to the classical and embracing the Western and using the Western theories of arts and literature and literary criticism as referential parameters.

中国现代文学批评的现代化进程，是努力挣脱中国古典文论羁绊、热烈认同西方文艺的结果，是告别古典拥抱西方、以西方文艺理论和文学批评作为参照系的过程。

A large number of research shows:(1) he missionary in China became the principle part of this cultural spreading; French and British Royal Academy of Sciences played important role;(2) The main western spreading contents of Chinese cultural scientific technology are: Chinese traditional Astronomy, Medicine, and arts and crafts;(3) Western spreading of Chinese traditional scientific technology had an important impact to Europe.

大量的文献研究表明：一、耶稣会传教士是这次文化传播的主体，法国皇家科学院和英国皇家科学院扮演了重要的角色；二、中国传统科学技术西传的主要内容是，中国传统天文学，中国传统医学，中国传统工艺艺术；三、中国传统科学技术的西传对欧洲产生了重要的影响，18世纪曾兴起了一股中国文化的高潮，莱布尼茨和伏尔泰等都是中国文化的狂热崇拜者。

The form discussion studies Liang Zongdai and Ye Gongchao respectively introduced and spreaded the French imagism and British and American formalism. The Poem special issue in the literature and art supplement of Ta kung Pao Newspaper and New Poetry organized twice discussions in poetic forms. The pure poetry school introduced that the modernists introduced the western and ancient pure poetry theories: from Baudelaire, Mallarme, Vale'ry, H. Read, A. Bremond to J.M. Murray, and the basic idea and difference of pure poetry. Besides, a lot of modem poets became greatly interested in pursuit heat of the pure poetry in late Tang and Nan Song dynasties, studying the development and variation of pure poetry. Music theory argues that modernists make introduction and reform on the western and Chinese music theory. He Qifang and Bian Zhilin continue the topic to the contemporary time, and put forward the theoretical frames in Chinese poetry. Rhyme and rhythm theory make researches on the introduction and reform of French symbolism and British and American modernists' rhyme and rhythm theory, making studies on the Chinese new form poetry and its thyme and rhythm theory.

纯诗论是形式论的重心；对西方和古代的纯诗理论之引入，引进了从坡到波德莱尔、马拉美、瓦莱里、默里、里达、白瑞蒙的纯诗理论；纯诗理论的基本内涵与差异；诸多现代派诗人掀起了晚唐南宋纯诗热，对姜夔、严羽作了新的理解；对纯诗理论的发展和变异，含梁宗岱的现象学形式论，何其芳的唯美论与形式论，现代派诸人的诗本体论；梁宗岱对纯诗理论的中国化研究，含梁宗岱的超越性与形式性，&超验&与&妙悟&的比较研究与形态超脱性的比较研究；中西纯诗形态的超脱性等；现代派纯诗论是对初期白话诗理论的清算，对新月派、象征派探索的总结和发展，音乐论是对纯诗论的延伸和对格律论的发展；现代派引入研究了西方诗学音乐论理论，含坡、瓦莱里、里德的纯诗音乐论、抽象音乐论、各种具体的音乐论技术论点；引入了中国古代诗学中关于诗与音乐、音韵、音顿、音义、平仄双声叠韵等音乐的理论；进行了两次关于新诗音乐论的大讨论；在节奏、音顿、音韵三方面借鉴了西方的理论，同时改造了古代的格律理论，扬弃了平仄说，何其芳、卞之琳把新诗音乐论命题延续到当代，提出了汉诗音乐论的理论框架。

Singer Leona Lewis and former Led Zeppelin guitarist Jimmy Page emerged as the bus transformed into a grass-covered carnival float, and the pair combined for a rendition of "Whole Lotta Love".

歌手leona刘易斯和前率领的飞艇的吉他手吉米页出现巴士转化为基层所涵盖的嘉年华花车，和一双合并为一移交&整个lotta爱&。

This is Kate, and that's Erin.

这是凯特，那个是爱朗。