查询词典 cultural

This Sambo in many Chinese cultural relics are the most or unique, is a world-class cultural relics, it is enough "Baby" at all.

这三宝中的许多文物都是中国之最或独一无二的，是世界级的文物，所以是够"宝贝"的了。

Some important state level centers, labs, bases, such as the "China National Engineering Research Center for Human Settlements," the "NERC for Urban Water and Wastewater," the "National Center of Testing and Supervision for Gas Appliances," the "City Gas Technical Development Center of the Ministry of Construction," the "Quality Testing and Supervision Center for Equipment of Water and Wastewater Engineering of the Ministry of Construction," the "Environmental Sanitary Engineering Technical Research Center of the Ministry of Construction", the "Environmental Sanitary Engineering Technical Promotion Office of the Ministry of Construction","Key Scientific Research Base of the Conservation Planning for Cultural Heritage of the State Administration for Cultural Heritage" and the "National House Applicants Testing Lab" are all stationed in the Group.

我院在保持专业设计研究院优势的基础上，建立以"项目为中心"的管理体制，设立院集团设计运营中心、项目总监部、专业设计研究工作室和名人工作室，专业化改革逐步完善，企业核心竞争力逐渐增强。我院将继续发扬"忠诚、贡献、创新"的企业精神，秉承"科学管理、竭诚服务、精心设计、质量第一"的执业方针，坚持"从质量中求精品、从管理中求效益、从服务中求市场、从创新中求发展"的工作宗旨，充分利用设计与科研、人才与技术等综合优势，积极开拓更广阔的业务市场，与国内外朋友开展广泛诚挚的合作，为广大客户提供高效优质的服务。

And the biological characteristics of the seven strains were reported in this paper, which include nutrition materials, cultural conditions, growth graph, cultural characters of mycelium, sclerotium and colony, mycelial differentiation, sclerotial differentiation and development.

将这7个菌株作为供试菌株，进行了一系列的生物学特性研究，包括营养基质、培养条件、生长曲线、茵丝体培养特征、菌核培养特征、菌落特征、菌丝分化以及菌核分化发育等。

We do see some globalized style spread and also self-admiration ,ethnical essential and national cultural .So that how to recognize our cultural identity in this global and mutified situation ,how to create ethnic character and perform native trends of aesthetic judgement in our design works must be in deep concern rationally.

我们确实看到了一种国际化风格的世界性蔓延，同时，我们也看到了在全球化的经济和文化场景中，设计的自我、民族和国家文化形象也不断地突显，因此如何在这个全球化和多元化的世界性场景中思考自己的设计文化身份，如何在一个全球化的设计场景中创造具有民族特色，并体现自身民族审美趋向的设计产品，是一个应该从理性的高度予以深思的问题。

Cultural landscape refers to concrete characterization, especially self-culture and total identification with the society, of a regional cultural entity after long-term and natural interaction, thus, it highlights the local characteristics.

文化景观乃是指一地区文化群体经长时期与自然环境间的互动所产生之具体表徵，乃是其对於自我文化、社会全体认同的方式，并由此彰显出该地的地方性。

On the poetics level, using a irrational female-genesis to self-explaining; using a "body-writing" as a self-domination, making a self-realization by ways of "dark","blood","death", such as those feminine imagination; making a self-represent ion by "monologue". On cultural consciousness level, takinga self-searching on reconsidering woman's status and ending in love; taking a self-awaking by showing what a mother had "done" for daughter in order to serve and maintain man society; introducing a self-remolding through recover and rebel the man ideology; be self-awakening and oppugning the man-centre society, within its cultural "make","assimilation" to female herself.

本文从两个方面来集中分析《女人》显示出的的"女性意识"：在诗学审美形态上，以非理性的女性"创世神话"题材来解释"自我"；以"躯体写作"的方式来支配"自我"；以"黑夜"、"血"、"死亡"等"阴性意象"来认识"自我"；以"独白"的方式来表达"自我"；在文化意识形态上，以对爱情中女性地位和结局的重新思考来寻找"自我"；以"母亲"对"女儿"的"塑造"来揭示"母亲"作为男权社会的"服务者"和"维护者"形象达到警醒"自我"；对男性文化意识形态的还原和反叛来解构男性中心文化并重铸"自我"；在辨认"自我"的觉醒中将质疑引向对男性中心社会及其所预置的文化秩序和"被造"、"被同化"的女性自身。

The system includes two aspects of thought: cultural semiotics based on history and cultural semiotics based on text.

该体系包含着基于历史的文化符号学和基于文本的文化符号学两部分思想。

To strengthen the cross-cultural sensitiveness and the ability of cultural adaptation is of great necessity for both the teachers and students.

加强跨文化的敏感性，提高跨文化的适应能力，对教学双方来说都是有必要付出的努力。

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。

Kay's Anxi tea products factory is located Tea development, production, marketing for an integrated enterprise, since its inception,承蒙the love of the community, constantly expanding the scale of production, technical facilities, constantly updated, more complete management system in light of China's traditional Technology such as sculpture, painting, grinding, shell carving, and so on for a well received by the majority of users of praise, the production of all products imported raw materials Hua Li, Hong Tan, the Green Tan, Heitan, Item, Wings, and other high-quality timber, the Chinese traditional hand-handling process is home to several thousand years of cultural heritage, antique, emitting a strong cultural atmosphere.

安溪凯的茶具制品厂是一家集茶具开发、生产、销售为一体的综合性企业，自创建以来，承蒙社会各界的厚爱，生产规模不断扩大，技术设施不断更新，管理体制更加完善，结合我国传统工艺如雕刻、油漆、打磨、贝雕等为一身，深受广大用户的一致好评，企业生产的产品原材料全部以进口花梨、红檀、绿檀、黑檀、酸枝、鸡翅等优质原木，经中国传统手工工艺处理，秉承了几千年的文化传承，古色古香，散发出浓厚的文化气息。

According to the clear water experiment, aeration performance of the new equipment is good with high total oxygen transfer coefficient and oxygen utilization ratio.

曝气设备的动力效率在叶轮转速为120rpm～150rpm时取得最大值，此时氧利用率和充氧能力也具有较高值。

The environmental stability of that world - including its crushing pressures and icy darkness - means that some of its most famous inhabitants have survived for eons as evolutionary throwbacks, their bodies undergoing little change.

稳定的海底环境─包括能把人压扁的压力和冰冷的黑暗─意谓海底某些最知名的栖居生物已以演化返祖的样态活了万世，形体几无变化。