查询词典 cultural center

The "so-called new Americanist criticism of the last two decades," we read, tends to see the tensions between margin and center (in particular of race, ethnicity, gender, class, and sexuality) as more central to U.S. cultural history than any supposed aesthetic mainstream.... No longer does it seem so self-evident that Emerson and Transcendentalism were the gateway to U.S.

我们看到："所谓过去二十年里美国问题的新批评倾向于透视边缘和主流（特别是在种族、人种、性别、阶级和性方面）的紧张状态，它比任何可以想像的美学主流都接近美国的文化史……爱默生和先验主义是美国文学涌现的通道的说法看起来不再那么顺理成章。"

This essay mainly focused on the analyzation and discussion of how to enhance the management of science and technology information of high education , and to develop and utilize the resource of science and technology information reasonably, straining to make full use of it, to make high education to be the collecting and distributing center of science and technology information, boosting the development of economic society of the nation and the region and cultural advancement.

决定一个国家、一个地区经济高速发展的因素之一，就是在于具有丰富信息资源，并能充分利用信息的作用。如与我国一衣带水的日本是一个资源缺乏、土地面积狭小的国家，但是由于重视开发与利用信息

Key researching bases such as "Institutes of Advanced Study"," Institute of Gan Knowledge","Research Center for the Development of Central China","Research Center of Ideological and Political Education of College Students in Jiangxi Province" were built so as to strengthen the theoretical research of philosophy and social science. Campus activities like "Masters' Forums","Joint Construction by Both University and Local Government","Consultancy Services," and "Barnstorming" are actively carried out so as to guide and promote regional cultural development.

在新的历史发展时期，南昌大学正高举中国特色社会主义伟大旗帜，以科学发展观为指导，继续解放思想，改革创新，努力实现"三个转移"，做好"三篇文章"，不断坚持科学发展，推进内涵建设，为实现建设高水平新型综合性大学的目标而努力奋斗，为实现江西在中部地区崛起的新跨越做出新的更大的贡献。

In the "Canton construction" Tenth Five-Year "plan", the urban construction is expected to invest 80 billion yuan to inner ring, outer ring as the basic line, adjusting the function of urban layout, in the city center group, to Baiyun Mountain and Pearl River started at the core of urban design and landscape construction, and give full play to the Canton of Physical Geography and historical and cultural advantages, Castle Peak, clear water and the history and culture of Guangzhou organically integrated into the overall urban environment, the formation Baiyunshan as the center, the new , the old north-south axis of the city, the Pearl River with the east-west tourism landscape of the urban landscape architecture.

在"广东建设"十五"计划"，城市建设，预计投资八百点零零零亿元以内环，外环的基本路线，调整城市功能布局，城市中心组，以白云山和珠江开始为核心的城市设计和景观建设，并充分发挥广东自然地理和历史文化优势，青山，清澈的海水和纯净的历史和文化有机地结合到广州城市总体环境，形成白云山为中心，新的，旧的南北轴线的城市，珠江三角洲与东西方的旅游景观的城市景观设计。

The continuously completed cultural facilities The symbolic cultural facilities include Xinghai Odeum, Guangdong Art Gallery, Sun Yet-san Memorial Hall, Guangzhou Arts Museum, and Hongxiannu Art Center.

文化设施不断完善。广州市拥有星海音乐厅、广东美术馆、中山纪念堂、广州艺术博物院、红线女艺术中心等标志性文化设施。

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。

Cultural resources through the union catalog, the establishment of cultural information resources online navigation system; the use by the National Center, the provincial sub-centers, as well as grass-roots network of service centers.

通过文化信息资源联合目录，建立网上文化信息资源导航系统；利用由国家中心、省级分中心以及基层中心组成的网络开展服务。

Take Fuzhou , this historical cultural city , as an example: According to the space heterogeneity of different dividing areas in the city and the green corridor structure of city (among them the green corridor passes through the other ring to take green, the Tenneco green land and garden green land of center district), the problems of how to draw the cleanness, wet and cold air around the surround into the center of city through the high green forest community which alleviate the tropical island effect and improve air quality and how to build the ecological view system of the city are discussed to make the city ecological view environment play its social role, the city will not develop at the cost of ecological view components , such as nature , history , and at the basis of expurgating, properly, the distillate of design in the history of the city humanity which would be a design language to stretch the nature, history and humanity view environments.

以福州这座历史文化名城为例：根据城市不同分区的空间异质性，贯通城市内的绿廊结构(其中绿廊穿越外环绿带、楔形绿地和中心区园林绿地)等探讨在城市化不断发展的过程中如何将城市周边清洁冷湿的空气经过高绿量的森林群落引入城市内部，缓解热岛效应，改善空气质量；以及如何通过城市的生态景观系统的营造使得城市的生态景观环境能够作为一个系统而充分发挥它的社会职能。通过对一个城市历史的系统解读使得城市化的发展过程不再是以自然、历史、人文等生态景观组成部分的破坏为代价，而是合理地提炼城市人文历史中积淀下来的部分，设计成为这个城市未来生态景观规划中的一个设计语汇，从更宽泛的角度延展这个城市的自然、历史和人文的景观环境。

The first is to the West Willow community Sihuan Xishan board along the fast, is very strong academic atmosphere of the region, both the transmission to the Summer Palace, Yuanmingyuan represented rhyme at the end of the millennium culture, but also compatible with the Beijing University, Qinghua humanistic spirit of the times ; Yizhuang The second is that the new industrial base, forming a kind of leisure real estate development mode, both the industrial layout, economic development, living environment, space, etc. all have the typical atmosphere of the post-industrial era residential cultural identity, a unique regional cultural competitiveness, also contributed to the Yizhuang real estate in recent years has remained very active, the vitality of this culture will continue; third CBD based commercial real estate for the center, forming a very modern color international business culture; article Four Olympic plate, surrounding the new concept of real estate are the Olympic Games, closely focusing on sports, culture and contemporary spirit of sport psychology to build a living space.

首先是西方柳树社会西山局四环沿线的速度快，是非常强大的学术氛围的区域，无论是传输到颐和园，圆明园代表韵结束时的千年文化，而且也符合北京工业大学，清华大学人文精神的时代；亦庄第二个问题是，新的工业基地，形成了一种休闲房地产的发展模式，无论是产业布局，经济发展，生活环境，空间等都有典型的气氛后工业时代住宅文化认同，一个独特的区域文化竞争力，也有助于亦庄房地产在最近几年一直是非常积极的，富有活力的这种文化将继续；第三次生物多样性公约的商业房地产为中心，形成了非常现代色彩的国际商业文化；第四条奥林匹克板，周围的新概念房地产是奥运会，紧紧围绕体育，文化和当代精神的运动心理学建立一个生活空间。

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 split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。