查询词典 Chinese character

It pointed out the basic historic mission of the first generation of CPC people headed by Zedong Mao is the independence of the country and national liberation, to overthrow the "three big mountains "pressing on the heads of Chinese people and all reactionary forces to hinder Chinese social progress, and from this formed the mode of thinking with the main character of revolution; The basic historic mission of the second generation CPC people headed by Xiaoping Deng is to transform the rigid economic and political system of traditional socialism, from thinking theory, eliminate the bookishness and"Left"dogmatism which hindered economic development and social progress and spread seriously, and from this formed the mode of thinking with the main character of transformation; Then, the basic historic mission of the third generation CPC people headed by Zemin Jiang is, on the basis of the cause opened by the first and second generations CPC people, to open up the new situations of building the socialist cause with Chinese characteristics, in theory and practice, realize overall creation in all fields of life, and from this formed the mode of thinking with the main character of creation; The historic mission undertaken by the new central leading group headed by Jintao Hu is to completely realize the objective of well-off society, strengthen international competitive, the main point is economic development, the stress is in the countryside, and the difficult point lies in social development.

指出：以毛泽东为代表的第一代中国共产党人的基本历史使命是国家独立和民族解放，推翻压在中国人民头上的三座大山和一切阻碍中国社会前进的反动力量，并由此形成了以革命为主要特征的思维方式，以邓小平为代表的第二代中国共产党人的基本历史使命是变革传统社会主义的僵化的经济政治体制，在思想理论上革除阻碍经济发展和社会进步的严重泛滥的本本主义和"左"倾教条主义，并由此形成了以改革为主要特征的思维方式；那么，以江泽民为代表的第三代中国共产党人的基本历史使命，则是在第一代、第二代中国共产党人所开创的事业的基础上，开拓建设中国特色社会主义事业的新局面，在理论和实践上，在社会生活的所有领域实现全面创新，并由此形成了以创新为主要特征的思维方式；以胡锦涛为代表的新的中央领导集体所肩负的历史使命是要实现全面建设小康社会的目标，增强国际竞争力，要点是经济发展，重点在农村，而难点在社会发展方面。

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。

This dissertation gives a description of pictophonetic characters system of Xiao Zhuan system with the methodology of systematism. On the basis of the description, we discuss the basic theory on the pictophonetic characters system and the character-formation system of the Chinese characters and advanced some preliminary views on the analytic method of the character-formation system of the Chinese characters and the developmental direction of the modem Chinese characters.

本文采用系统论方法，对小篆字系的形声系统进行了全面的测查和描写，并在此基础上，对形声系统和汉字构形系统的基本理论问题进行了研究，对汉字构形系统的分析方法和现代汉字的发展方向的问题也提出了初步的看法。

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。

This article tries to analyze the depth and breadth of Chinese modern national character research in theoretical perspective; The theoretical visual angle it chosen is a kind of cultural comparing research macroscopic threshold;"The Chinese question" globalization goes through the historical perpetual flow; Standing on such dynamic platform, this article reveals multi-dimensionality meanings of cultural anthropology, sociology, psychology, politics and ethnology which the question refers to, and analyzes the thinking course of modern people seeking conscious liberation; It resets the national character question into the space which Chinese modern national politic salvation and culture enlightenment exist in to prove the national character's social value; Furthermore, it opens up and develops the profoundly influencing inertia, which is implicated in the generation's considering, inheriting, criticizing and innovating, thereby it gains some enlightenment of persons modernization through regressively examining.

文章力图对中国近代国民性问题研究的深度与广度进行理论透视，其选择的理论视角是一种文化比较研究的宏观界阈，站在&中国问题&逐步世界化这一贯通绵延历史长河的动态平台上，揭示中国近代国民性问题指涉的文化人类学、社会学、心理学、政治学、民族学的多维意蕴，透视近代国人寻求主体自觉解放的心路历程，将其还置于中国近代民族政治救亡和思想文化启蒙的生存空间中来求证其本寓的社会价值，并拓衍其代际省思、承继、批判以至创新所寓意的深远影响惯性，在逆向审视中获取人的现代化的某些启示。

This paper mainly includes two parts The first part falls into three main sections. First, it analyses the formative causes of the Chinese traditional house interior display art through five aspects, including the structure and forms of Chinese traditional architecture, the productive mode of Chinese traditional society, Chinese traditional philosophy, the idea of ethics and grading and custom of Chinese traditional society. Second, it briefly introduces the history of Chinese traditional house interior display art's development. Finally, it focuses on the analysis of Chinese traditional house interior display art's design ideas and concludes that its design ideas embodies the five sides as follows: respect for nature and imitate artfully nature, practical-oriented and function incorporated into form, images of space of what the theory and practice forms, balanced natural pattern of the display, artifacts with the thoughts and respect for poetic imagery. Another part of the article further researches on the application of Chinese traditional house interior display ideas to the contemporary home display, and leads to the author's view, that is that each era should has its own character when it inherits the traditional culture. What's more, the contemporary Chinese-style home display design not only have to take over the spirit of the tradition but also have to give full consideration of the contemporary aesthetic concepts, principles and methods. In the 21st century, humanistic care is greatly proponed in the interior design. The interior display art should develop towards the ecological, personalized and comfortable direction and the cultural dimensions. It should absorb the traditional cultural elements to decorate contemporary living space. In order to upgrade the simple and primary "appearance likeness" to a higher level of "spirit likeness", it must effectively grasp the poetic imagery of space, which can reach the artistic effect of "both appearance and spirits".

本文的重点内容有两部分：一部分是从中国传统建筑的结构形式、中国传统社会的生产方式、中国传统的哲学观念、中国传统的伦理等级观念、中国传统社会的风俗习惯等五个方面简单分析了中国传统民居室内陈设艺术形成的原因；简要介绍了中国传统民居室内陈设艺术的发展过程；着重对中国传统民居室内陈设艺术设计理念的具体内涵进行了深入的分析，总结出其设计理念集中体现在五个方面，即崇尚自然与巧法造化、实用为本与文质彬彬、虚实相生的空间意象、均衡自然的陈设格局、器以载道与以境为尚；另一部分是对中国传统民居室内陈设设计理念在当代居室陈设设计中的应用作了较深层次的探讨，并提出了自己的见解，即每个时代对传统文化的继承都应该呈现出自己的特色，当代中式风格的居室陈设设计既要秉承传统民居室内陈设艺术的设计精髓，又要充分考虑当代审美观念、原则和方法的融入。21世纪，室内设计大力提倡人文关怀，具体到室内陈设艺术设计上，应该向生态化、个性化、舒适化和文化层面发展；吸收传统文化元素装饰当代居室空间，要有效地把握空间意境，使当代中式风格的居室陈设设计从简单、初级的&形似&上升到较高层次的&神似&，进而追求&形神兼备&的艺术效果。

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 first chapter introduces background、pursers and meaning、method、content and structure of this paper and the present conditions of current research. Some basic concepts are also defined in the first chapter; the second chapter systematically reviews the international market development theory, internationalization theory for enterprises based on technology, international risk prevention theory and other relevant theory. The third chapter introduces the current international operation condition of Chinese high-tech enterprises and analyzes the international operation character and motivation of these enterprises. Based on the analysis of the character of Chinese high-tech enterprises and the main elementary which will affect the entry-mode, the fourth chapter discusses the international strategy and the relevant entry-mode from the perception of resource. After selecting the suitable entry-mode, the fifth chapter discusses the problem of international risk. This discussion focuses on Chinese high-tech enterprises and establishes the risk prevention system, with the analysis of specific case. The last chapter summarizes the whole research content and brings forward the guidance for the deeper research.

第一章为绪论，介绍了论文的研究背景、目的与意义、研究方法、内容、框架以及研究的现状，还对本文的一些基本概念进行了界定；第二章系统回顾了开拓国际市场的理论、基于技术的发展中国家企业国际化理论以及国际风险理论等与本文相关的理论知识；第三章介绍了我国高新技术企业国际化经营的现状，并对其国际化经营的特征及动因进行了较为详细的分析；第四章在对我国高新技术企业的特点及影响其进入模式选择的主要因素分析的基础上，从资源角度探讨了其国际化战略及战略指导下的进入模式选择；第五章研究在选择了合适的进入模式之后，即将面对的国际风险问题，对我国高新技术企业的国际风险进行了聚焦，并构建了风险防范体系，还结合具体案例进行了探讨；第六章对研究的内容进行了总结，并指出了本研究的不足之处和进一步的研究方向。

Pursues after, Lin Yuanyue arrived nearby the LuoYi tombstone, only sees his double knee to kneel, lamented the tearjust like the wild horse which escapes the reins to flow copiously, heuses the left hand to support by the arm the tombstone a jiao, theright hand strokes in the inscribed text to gold-plate the largebrush-written Chinese character, is choked with tears said: TheLuo Iraq, the Luo Iraq, I come to see you have come, Luo Iraq, youfortunately?

经过一番找寻，林援越来到了罗伊的墓碑旁，只见他双膝跪地，悔恨的眼泪犹如脱缰的野马夺眶而出，他用左手搀扶住墓碑的一角，右手则抚摸着碑文上的镏金大字，痛哭失声地说道：罗伊，罗伊，我来看你来了，罗伊，你还好吗？

We tried to find the tactile identifying differences between Roman alphabet letter and Chinese character.

大量的以往研究涉及到字词识别，其中又有相当一部分是对字词或字母的触觉辨认研究，但未见汉字模式的触觉辨认研究。

But we don't care about Battlegrounds.

但我们并不在乎沙场中的显露。

Ah! don't mention it, the butcher's shop is a horror.

啊！不用提了。提到肉，真是糟透了。