查询词典 cultural

Identifying Morrison as a deconstructionist in the western world and combining this with a large cultural and historical context, the dissertation argues that Morrison's fiction originates in an area both inside and outside of Western literary criticism, which entails the employment of deconstructionist theory with deference to African-American cultural paradigms.

这是一种不可或缺的文化身份，在美国黑人开放而持续进行的个人身份形成的过程中它是牢固的建构基础，它的重建将敦促白人重新思考他们应对&差异&的能力，重新审视他们与黑人在历史的长河中所形成的复杂关系。

Abstractthere are many cultural differentials between chinese and english because of the different cultural background.

摘 要不同的文化背景造成英汉语言中多方面的差异。

If we want to make an effective and rational study of national psychology and a cross-cultural study between national bodies, we must first of all define the basis on which to make the studies as well as the comparisons. Namely, we should define the equivalence which we can make a comparative study of or a cross-cultural study of on the basis of methodology by building a platform of researching the equivalences of different nations so that we can make the study of national psychology there.

要有效而合理地进行民族心理学研究、进行民族族体间的跨文化研究，就必须首先确定这种研究与比较赖以开展的基础，亦即在方法论上对可以进行对比研究或跨文化研究的等值予以确定，搭建一个研究不同民族的等值平台，在这个平台上开展民族心理的研究。

In fact, even the cultural similarities between the various European countries there are considerable cultural differences, Germanic people Gauls, Kay and special people, Slavs in dealing with the same thing, we will have a different attitude.

其实即使是文化相近的欧洲各国家之间也存在着很大的文化差异，日耳曼人、高卢人、凯而特人、斯拉夫人在对待同一件事时都会有着不同的态度。

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。

We are convinced that, with more and more cross-cultural interactions, the discussion of the differences between English and Chinese in the area of politeness realization will definitely be significant for the purpose of increasing interlocutors cultural awareness and communicative competence.

我们相信，在国际交往日益频繁的今天，探讨中西方礼貌用语的差异，无疑会增强交际者的文化敏感性，减少语用失误，帮助交际者通过使用恰当的礼貌用语来达到有效交际的目的。本文由三部分内容组成。

Language contacts mean cultural contacts, and only cultural lead to the product of loanwords.

外来词是文化接触的必然结果，外来词里也必然包含着丰富的文化内涵。

The cultural misinterpretations always exist in the course of the cultural communication,which always interrupts normal communication.

文化交流中常常存在按照自身的文化传统、思维方式等去解读另一种文化的误读现象，并构成文化交流的障碍。

Targeted at the translation of English and American literature during 1949-1966 as well as the new translated editions since 1978, this paper, through a reexamination of mistranslations, discloses the cultural conflict and distortion between China and the West in this specific historical context; and the revised mistranslations after 1978 reflect a different cultural attitude of China towards other cultures which is more confident and tolerant.

本文以建国后十七年英美文学的翻译为研究对象，并通过对新时期以来的新译本的研读，揭示&误译&所隐含的中西文化在特定历史时期的碰撞、扭曲与变形；而新时期以来对&误译&的不断修正则射出复杂变迁中的中国面对他者时自信而宽容的文化气度。

The literal, free and zero translation, thinking that translation is more than the mere exchange of words, but also a process that always has its preconditions of cultural background, and all strategies and skills are conditioned by social and cultural factors. By comparison between the original and target contexts, especially the criticism of the misunderstandings and mistranslations in Giles'version, we can see that it is hard to convey the original content as well as style to translate word for word or to deviate from the original.

在对《孙子兵法》和Giles英译本的对比分析及其历时研究的基础之上，尤其是针对该译本中存在的误读误译问题及其原因，作者指出完全按照字面直译和彻底脱离原文的意译都难以传达原作的风格与内容；相对而言，直译甚至零翻译可以比意译更有效地体现和传递源文化，尽管可能不如意译那样通顺。

For a big chunk of credit-card losses; the number of filings (and thus charge-off rates) would be rising again, whether

年美国个人破产法的一个改动使得破产登记急速下降，而后引起了信用卡大规模的亏损。

Eph. 4:23 And that you be renewed in the spirit of your mind

弗四23 而在你们心思的灵里得以更新