查询词典 Chinese character

In these portion,the article begins the study of tone sandhi from the point view of two-character phrases and three-character phrases,which is also the focus and difficult point as well.On the basis of substantial materials of Dingzhou dialect,the author elaborates its rules and principles of tone sandhi of the general phrases and those with light tones,and reiterative location.the author puts his views as follows: 1.The rules of tone sandhi of two- character phrase are simple and unitive. 2.The complex of the phrase with light tones lies in the combination of the first tone and light tone.In the case,there are two different pronunciations in Dingzhou dialect.The author guesses it is the coexist of ancient pronunciations and common spoken Chinese. 3.The tone sandhi of general three-character phrases on the basis of the rules of that of two- character phrases,using the grammar structure of the three-character phrases as the restricted conduction,which function jointly. 4.The rules of tone sandhi of three- character phrases with light tones are restricted only by that of the two- character phrases with light tones and thus are foreign to grammar structure. 5.The tone sandhi of the words with reiterative location has their own system.

这两章中，作者采用直接调查法，社会语言学方法分别从一般字组、含轻声字组和叠音词字组三个方面对定州方言连读变调进行详尽地描写，文章中既有对连读变调的共时性描写，也有对连读变调历时性推测，总的来讲笔者认为定州方言变调具有一定的系统性，主要表现在以下几个方面：两字组连读变调规律简单统一，含轻声字两字组内部规律较为复杂，但是具有很强的一致性；定州方言含轻声两字组变调的复杂性主要表现在阴平+轻声的组合中，在这种情况下，定州方言有两种读音方式，推测它是语音存古现象和普通话语音并存的结果；一般三字组连读变调以两字组连读变调规律为基础，以三字组的语法结构为制约条件，二者共同发生作用；轻声三字组变调规律只受轻声两字组变调规律的制约，与语法结构无关；叠音词的变调规律自成系统。

Through carries on the Hough transformation after the license plate outline, with one kind of new K average value algorithm fits the edge straight line, obtains the straight line angle of tilt then to carry on the adjustment to the image; Uses one kind of fast pattern plate match union vertical and the horizontal axis projection carries on the division to name board various characters, raised the character division speed and the precision; Finally separately carries on the recognition to the alphanumeric character and the Chinese character character, the alphanumeric character uses the BP neural network algorithm, but the Chinese character character uses based on the most close neighbor sorter template matching algorithm.

通过对牌照轮廓进行Hough变换后，用一种新的K均值算法拟合边缘直线，得到直线倾斜角度进而对图像进行校正；采用一种快速的模版匹配结合垂直与水平投影法对船名牌上的各字符进行分割，提高了字符分割的速度和精度；最后分别对数字字符和汉字字符进行识别，数字字符采用BP神经网络算法，而汉字字符采用基于最近邻分类器模板匹配算法。

Strokes of a Chinese character is a fundamental Chinese character structure unit , the common 8 kinds fundamental strokes of a Chinese character , in the light of certain pen fall in with a Chinese character importing a Chinese character.

笔划是汉字的基本构造单位，汉字共有8种基本笔划，按照一定的笔顺输入汉字。

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。

Chapter one is "Introduction". On the basis of summarizing the history of the study of the pictophonetic characters, we suppose some theoretical principle, such as the principle of the correspondence between the form and the meaning of the individual graph of Chinese characters, the principle of the total graphs of Chinese characters being a character-formation system, and the principle of the optimum development of the character -formation system in the history, and som analytic methods, such as the methods of structrue-function analysis, form-position analysis and meaning factor analysis, in the study of the pictophonetic characters. Chapter two is titled"General knwledge of the pictophonetic character." We discuss their origins, nature and some standards of distingnishing them, introduce the knowledge about the editions of SHUO WEN JIE ZI, analyse the functions of the modules of pictophonetic characters in detail, discuss concretely the function of phonetic graphs showing origins and pronunciations, the function of meaning graphs showing meanings and analogies, and the function of distinguishment when the two kinds of graphs are conbined. Chapter three is"The system of meaning graphs of Xiao Zhuan system."After we describe the structure of the meaning graph system, the relations between meaning graphs, the distributions of the function of meaning graphs showing meanings, and the frequency of all this kind of graphs, we get a table of all meaning graphs, a table of the frequency. Chapter four is"The system of phonetic graphs of Xiao Zhuan system."We describe the structure of the phonetic graph system, the relations between phonetic graphs, and between their function showing origins and their function showing pronunciations, and their frequency, then we get ageneral table of phonetic graphs and table of their frequency. Chapter five is "conclusion". We think that systematical methodology is useful in describing and analysing the formation system of Chinese characters. The methodology is adaptable in describing the formation system of modern Chinese characters as well as the historical character systems, adaptable in describing horizontally as well as comparing vertically. Only when we finish the systematical vertical compare on the base of systematical horizontal decription, could we know the true history of the system of Chinese characters, recover the rule of the system's development, and supply the theoretical supports for the scientifical arrangement of modern Chinese characters.

第一部分—绪论，在总结形声字研究历史状况的基础上，提出了研究形声系统的理论原则和分析方法，即汉字个体字符形义统一的思想，汉字字符集合构形系统的思想，汉字构形系统历史演变系统优化的思想等三项理论原则和结构功能分析法，形位分析法，义素分析法等三种分析方法，还扼要地介绍了具体的工作程序和论文的主要内容；第二部分—形声字概述，论述了形声字的来源、性质和鉴别标准，介绍了对《说文解字》正篆形声字说解中的传抄讹误，版本异文，说解错误校勘和考证的经过，详细分析了形声字构件的功能，具体讨论了声符的示源功能与示音功能，义符的示意功能与类化功能以及声符与义符组合中的相互区别功能；第三部分—小篆字系的义符系统，从义符系统的构成、义符间的相互关系，义符示意功能的分布及义符的构字频度等不同侧面，对义符系统进行了全面的描写，产生了义符总表、义符间意义关系总表和义符构字频度总表；第四部分—小篆字系形声字的声符系统，从声符系统的构成、声符间的相互关系，声符的示源功能与示音功能的关系以及声符的构字频度等不同侧面，对声符系统进行了全面描写，产生了声符总表和声符构字频度总表；第五部分—结束语，在全面测查小篆字系形声字的基础上，对研究汉字的方法和现代汉字发展方向的问题提出了一些看法，认为系统论的方法是描写和分析汉字构形系统行之有效的方法，系统论方法，不仅适用于历史上文字系统的描写，也适用于现代汉字构形系统的描写，不仅适用了断代描写，也适用于历史比较，只有在对汉字断代系统描写的基础上进行系统的历史比较，才能认清汉字系统历史演变的真相，揭示汉字系统发展的客观规律，为科学地整理现代汉字提供理论上的依据。

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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。

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。

Although translator has turned from being a crystal ball by which the original culture can unrestrainedly penetrate to another crystal ball by which the target culture can freely traverse, the translator's personal embodiment, in the process of cognitive act, are still absent in translation studies. Translators are still subjects without body or simply disembodied subjects.

译者虽然由原语文化可以自由穿透的玻璃球变成了译语文化可以自由穿越的玻璃球，但译者认知过程中的个体体验在翻译研究中依然缺席，译者依然仅仅是一个没有躯体体验的主体。

Chillingly, he claimed our technology is 'not nearly as sophisticated' as theirs and "had they been hostile", he warned 'we would be been gone by now'.

令人毛骨悚然的，他声称我们的技术是'并不那么复杂，像他们一样，和"如果他们敌意"，他警告说，'我们将现在已经过去了。