查询词典 Modern Vernacular Chinese

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。

Base on the understanding of the core of Chinese traditional bamboo culture, the project analysis Chinese modern life and esthetics with Typical Group of People Analysis, Life Style Research, Mood Board and Quadrant Distribution Map. The research analyses modern people's requirements to bamboo culture, discusses the possibility of combining modern esthetics with traditional bamboo culture, and creatively induces the modern applications of bamboo culture according to both material and spirit consideration. It is wished that through this research, the quality of modern product design would be improved through the combination of advanced modern technology, modern design and modern aesthetic elements with the traditional bamboo culture and bamboo materials. It is also wished that by the use of bamboo culture which reflects the nature of Chinese civilization, the Chinese design brand will be established, and the design with rich Chinese characteristics will be created.

本研究在对中国传统竹文化的核心和特征的理解归纳的基础上，采用了典型族群分析、生活形态研究、情态看板、四维象限分布图的研究方法，具体深入的研究了中国的现代生活及现代审美，并结合中国传统竹文化所表现出的审美意向和情趣，分析了现代人对传统竹文化的需求，以及传统竹文化与现代审美结合的可行性，并从竹材与文化内涵两方面探讨了竹文化在现代产品设计中的应用，希望能够通过结合现代先进技术、现代设计和现代审美的元素，运用竹文化所体现出来的中华文明的特质，提高现代产品设计的品质，并树立中国设计的品牌形象，创造出富有中国特色的设计。

Hu Shi, one of the major figures promoting vernacular literature in the May Fourth Movement, legalized the vernacular Chinese poetry, and also developed the vernacular literature style to the newly high level.

在新诗理论建设的问题上，胡适以&白话&为核心来建构新诗理论，鲜明的诗体意识使得白话诗从古典诗中解放出来；另一方面，其白话诗论的负面因素给日后新诗的发展埋下了危机。

In Chapter 1, the course of transformation of the modern Chinese literature in the vernacular and the social culture of China in recent 100 years, was given an overall inspection at first; then the profound reason of constant evolution of the situation of writing, review and reception of modern Chinese prose in the vernacular was provided.

优秀的文学创作离不开明确的历史意识和哲学思想的深厚基础。但诗、史、思必须形成有机融合，而不能是简单的相加或拼贴。史，应是以&历史合理性&原则为基础的历史意识；思，即&究天人之际&，是&理论形态的人类自我意识&。

In Chapter 1, the course of transformation of the modern Chinese literature in the vernacular and the social culture of China in recent 100 years, was given an overall inspection at first; then the profound reason of constant evolution of the situation of writing, review and reception of modern Chinese prose in the vernacular was provided.

本文企图通过以最近20年（1980～1999）中国大陆散文创作实践、理论实践及接受状况为主要对象的个案研究，确立一个基于社会文化总体架构和文学系统内部关系双重观照角度的，对扩大和深化中国现当代散文研究的视野有所帮助的试验性的理论范型。

Now that I have, not without difficulty, elucidated some tricky problems - who and what is worthy of the aulic vernacular, as well as which form I consider worthy of such honour as, alone, to be suited for the vernacular at its highest - I wish, before moving on to other matters, to enquire thoroughly into the canzone form, which many clearly employ more at random than according to the rules; and since, so far, all this has been taken for granted, I will now throw open the workshop of that art (leaving the forms of ballata and sonnet aside for the moment, since I plan to explain them in the fourth book of the present work, which will deal with the middle level of the vernacular).

上面我不无艰难地阐释了一些棘手的问题——谁和什么东西能够与高贵的方言相配，以及是什么构成了我认为能与最高贵的方言相配并享有这一荣誉的事物——我希望在转而讨论其他问题之前，对歌曲这一形式进行彻底探究，很多歌曲明显是随意创作而非根据特定的规则；因此，到目前为止，所有这些都被想当然地认可了，我将打开这一技艺工匠铺（暂时不考虑民谣和十四行诗，因为我将在本书的第四章再做解释，第四章将探讨中等的方言）。

Viewing the status of modern Chinese, The present situation of modern Chinese was formed mainly because of the Vernacular's "Europeanized" of May 4th movement. A lot of words and phrases we used today which was formed in the period of May 4th or even earlier. And the grammar of modern Chinese was also constructed on the basis of the "Europeanized" Chinese Grammar of May 4th.

从我们今天现代汉语的现状来看，五四白话文的&欧化&是促成当今现代汉语面貌的重要因素，我们现在所使用的词语很多是五四时期或更前翻译、创造的新词语；我们现代汉语的语法也是在五四欧化汉语语法的基础上建立的。

Elocutionary Vernacular Chinese in modern time is the unique literary form which presented itself in Vernacular Chinese Movement of late Qing Dynasty.

近代演说体白话文是在晚清白话文运动中出现的一种独特文体。

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。

Metrorrhagia is also gynaecological problems of common diseases.

崩漏是妇科常见病也是疑难症。

WordFTP gives you the convenience and timesaving you need.

wordftp让您的方便和省时您所需要的。