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But, the combination of the pragmatism and the post-colony world is eating the conscience of the art. The narrow twisted and unbalanced folk culture definitely gives birth of a strange baby of the culture; it uglifies the modern art that represents the voice of the modern time. Neither does it brings the Chinese good wishes to a bright future, nor does it lead the Chinese modern art to a brilliant future, yet, it does pushes the clean world into an endless dark world.

然而,艺术领域的实用主义与后殖民文化的结合,蚕食着了艺术的良知;江湖文化的狭窄、扭曲和失衡,必然催生一种文化的怪胎,因而使得作为时代心声的当代艺术丑陋不堪、问题多多,它既没有把中国人的美好意愿引向光明,也不可能使中国的当代艺术走向辉煌,而是,将一个至纯之地推向一个遥遥无期的晦暗之境。

The paper falls into three parts: firstly, the concept of native folk was definited and the characteristic of native folk was analysed, and then the native folk element presented in modern novels were discussed. Secondly, the forms of expression in different period of the native folk in modern novels represented by writings of Lu Xun,Shen Cong-wen and Zhao Shu-li were analysed. Finally, on the basis of the second chapter, the reason why the native folk has different forms of expression in 30years of the modern literature was further discussed from the writers angle--thedifferent way of clerisies being concerned with native folk.

本论文共分三个部分:首先,对&民间&的理念进行梳理,对&乡土民间&的概念进行界定并分析它的特征,进而具体讨论现代小说创作中所呈现出来的乡土民间这一元素;其次,以鲁迅、沈从文、赵树理的作品为代表来分析现代小说发展不同阶段&乡土民间&的表现形态;最后,承接第二章探讨为什么在现代文学三十年中&乡土民间&具有不同的表现形态,进一步从作家创作的角度来分析,也即知识分子参与&乡土民间&的不同方式。

The paper tried to inspire more musicians and piano executants to research the piano works and do more musicalperformances, therefore making our piano executants inherit thetraditional way to perform, and interject the particular and novel tasteideas of modern people to the modern music performance at the sametime, then excitated more people to understand or perform Scraibin'spiano work and discover more modern oiano music

从而使我们钢琴演奏者在具备继承传统音乐演奏法的同时,将现代人的独特而新颖的审美观到现代音乐作品的演奏中,使更多的人去了解,去了解演奏斯克里亚宾的钢琴作品和发现更多更好的现代钢琴音乐。

In the Lewis's dual-sector model, we can see that if food supplies to the modern sector do not keep up with the modern sector's demand for labor, the modern sector will have to consume a larger share of its output in feeding its labor force, and this will leave a smaller surplus for capital accumulation.

在刘易斯二元经济结构模式中,可以知道,如果粮食供给跟不上现代部门的劳动力所需要的粮食需求,现代部门不得不为弥补粮食不足而挪用他们生产中的很大部分,以造成减少为再生产需要的资本积累剩余部分。

The company occupies 55 acres and production workshop area of 23000 M3, with all kinds of skilled workers and technical staff of 220, divided into a casting workshop, spare parts processing workshops, high-frequency Heat Treatment workshops, equipment assembly plant tests, all spare parts, no one Purchase, a new modern office buildings are under construction, covering the cement square hollow brick production equipment of the modern large-scale job-shop has拔地而起pipeline, the first in-house and set up the State Institute of Zhuanji automation equipment And formed a set research and development and production of new simultaneous integration of the modern enterprise Zhuanji brick, Zhuanji ensure the quality and low-cost operation, so that every one of the guests are in the enterprise to purchase a complete set for themselves satisfied with the "Guaranteed quality / price popularization of" brick equipment, we have been tireless pursuit, and insisted on maintaining the leading position in the peer.

公司占地55亩,生产车间总面积23000M3,拥有各类技术人员熟练工人220人,分设了铸钢车间,零配件加工车间,高频淬火热处理车间,设备组装测试车间,所有零配件无一外购,现在一座崭新的现代办公大楼正在兴建之中,占地平方的水泥空心砖生产设备大型的现代化流水线作业车间已拔地而起,并首家在企业内部成立了国发砖机自动化设备研究所,形成了集研发和生产同步一体化的现代新型砖机制砖企业,保证了砖机的品质和低成本运作,让每一位客人都能在国发企业内选购到一整套适合自己满意的&品质有保证/价格大众化&的制砖设备,是我们一直以来孜孜不倦的追求,并坚持保持着在同行中的领先地位。

Due to the country's location, Ukraine artist accept more easily the modern western artistic impactions. One is the direct introduction to the modern western arts. The other is when artists are on the way to return the noumenon of art, they no longer settle for the traditional narrative style and this happen to have the same view with the language manner in modern western art.

地处欧洲使乌克兰画家更易接受西方现代艺术的影响,一是西方现代艺术的直接传入,再是画家们在回归艺术本体过程中,已不满足于传统绘画的叙事方式,而与西方现代艺术的语言风格不谋而合。

The Neo-Confucianism of Taiwan and Hongkong\'s aesthetic study combines the artistic spirit of Confucianism and Taoism, introjects the aesthetics of China and the west, and excavates the modern merits of traditional aesthetic, which are important problems of the modern Chinese aesthetics. Therefore, it is very helpful to the modern Chinese aesthetic and the comparative poetics that we scan the Neo-Confucianism of Taiwan and Hongkong\'s problems again and pursue the evolution of these problems in a cross-cultural and cross-subject view.

由于台港新儒家的美学研究兼有会通儒道艺术精神、融合中西美学思想,及发掘传统美学之当代价值等的层面,这些无一不是中国当代美学的重大课题,因此带着问题意识用跨文化、跨学科的视野重新审视他们探讨过的问题并追踪问题的延伸,将对中国当代美学的建构和比较诗学的研究都有着重要的启发意义。

Into Beijing International Home Living Museum of the large 3000 square meters of space, not only have come from Milan, Paris, New York and other international cities to display the latest home fashion trends, and the most fashionable furniture dynasty romantic of the seven series, more than brand-name products section, such as a layer of wood Santa brands internationally popular Scandinavian style and the Italian brand new perfect combination of modern minimalism, with a slight浅紫Medium lavender blue color, pure , simple, extremely elegant; second floor of the "I HOME" series of products will be China's traditional red and western gray perfect combination of fashion, with the color of the most poetic, and then add pure white decorations, pieces of furniture will become a pleasant works of art, constructed by the home, it is full of art; came three Dynasty furniture is the most "cool" furniture series - light series, Sapele series, only use material neat and simple metal the plates, just a crisp, beating about the bush in no way express the modern flavor; enter the four-story, we will see more than 1000 million family favorite, with traditional Eastern United States, another implication of modern simplicity and art of "Collected Essays" shallow Hu, black HU Series .

到北京国际家庭生活的大型3000平方米的空间,不仅有来自米兰,巴黎,纽约和其他国际城市来,博物馆展出最新的家居流行趋势,以及最时尚的家具浪漫的王朝7个系列,品牌名称的产品部分,如木材层圣品牌在国际上流行的北欧风格和意大利全新现代简约完美结合,有轻微浅紫中等薰衣草蓝色,纯净,简单,非常优雅,第二次&我主页&产品系列地板将是中国传统的红色和灰色的西方时尚的完美结合,与最富有诗意的颜色,然后添加纯白色装饰,几件家具将成为愉快的工作艺术,是由民政兴建,它充满了艺术;来到三时期的家具是最&酷&的家具系列-灯系列,沙比利系列,只使用简单的材料整齐,金属板,只是一个清晰的,转弯抹角绝不表达现代气息,进入四层,我们将看到1000多万个家庭喜爱,与传统的美国东部,另一个现代简单,&文集艺术的影响&浅胡,黑胡系列。

Modern Japanese tattoos are real works of art, with many modern practioners, while the highly skilled tattooists of Samoa continue to create their art as it was carried out in ancient times, prior to the invention of modern tattooing equipment.

当代日本有许多纹身从业者,纹身在日本已经成为了一门艺术。萨摩亚的纹身者在现代的纹身工具发明以前,秉承其古老传统,仍孜孜不倦的发展文身艺术。

It is the center of this article that how to put the costumes art of china's ethnic groups to good use in the modern character design. The writer expounds and proves the inevitability and necessary of the combination of external works and china's costumes art of traditional ethnic groups, according to which the writer chose several characters from famous classical novel ?The Creation Of Chinese Gods and recreated them with interrelated knowledge. These recreative examples and: Nvwa Sudaji nine-tailed Fox Denchanyu and Longji princess. Their vivid creative images and design prove the superiority of the two combinations. Meanwhile, some good relative suggestions have been put forward and a theory has been concluded in which modern character design is "skeleton", the comprehensive artistic display of the costumes art of china's ethnic groups is "blood and flesh".In addition, the topic is discussed according to higher practical field. Through the tentative analyses of productive economy and social development in china, the writer applies the costumes art of china's ethnic groups to modern character design, which will be good for the development and improvement of products' economic results, the improve and perfect of educational system, the standard of continuing cultural tradition and the resist of foreign culture invasion.

本文围绕中国传统民族服饰艺术在角色设计中的运用这一论题进行论述和研究,通过国外角色作品对中国传统民族服饰艺术的运用,论证了两者结合的必然性和必要性,并以服饰是角色灵魂设计的重点作为切入点,结合了融会贯通的中国传统民族服饰艺术知识进行了对名著《封神演义》人物:女娲、苏妲己、九尾狐、邓蝉玉及龙吉公主的实例创作,以生动的形象和实际设计的演练论证了两者结合的优越性,同时,也为创作提出了相关的建议,并提出了以现代角色设计为&骨骼&,以中国传统民族服饰的综合艺术表现为&血肉&的结论。

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