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Although the cymbalo is a foreign instrument, it has gradually entered into the matrix of the Chinese traditional culture through long-time development ,reform and practice. The technique of expression and skill of the cymbalo can all show the style of Chinese traditional characteristic.

扬琴虽然作为外来的一种乐器,但经过长期的发展演变与改革实践,它己逐渐融入中国传统文化的母体中,无论在表现手法还是演奏技巧上都会折射出具有中国传统特色的风格面貌。

After defining the feminine literary criticism from " Female Angle of View ", this paper gives the general description of the practice of Chinese literary criticism since 1900's as well as the analysis of individual characteristics, with the purposes of showing the spirit of creativity and vigorousness in it and giving a summarization of the deficiency in practicing. And all the work is done from three aspects:(1) Reconstruction and construction concentrating on the traditional literary criticism: that is to critique the masculinism in the traditional culture, to get the knowledge of the male writer's gender discrimination, and to find the source of feminine literature by the way of resistance-like reading.

本文从&女性视角&界定了女性主义文学批评的内涵,对20世纪以来中国女性主义文学批评实践,采用总体描述和个体研究特征分析相结合的方式,以彰显女性主义文学批评的学术创新活力、总结其实践中存在的不足为宗旨,从三个方面进行梳理整合:解构与建构,对传统文化的批判:批判传统文化话语中的男性中心主义,解读男性作家的性别歧视,运用抗拒式的阅读方式寻找女性主义文学传统。

Of course, with present economic scale, political and cultural influence, China is by no means allowed to be overmodest or too low profiled, or others would regard it as an escape from the obligations that should rest on the shoulders of the Big Brother .

当然,中国现在的经济规模,政治和文化的影响力决定我们也不能太&谦虚&、太&低调&,不然别人会认为中国在逃避&大哥&应当承担的责任。

Be it poetic experience of certain events or fervent expression of mysterious existence, his works are filled with mysteriousness and passionateness of living creatures, and with in-depth thoughts behind the romantic and magnificent physical appearance, which not only represents contemporary art trends and aesthetic experience, but also well accords with the tradition of Chinese culture, in particular, the romantic Chu-sao culture in the pre-Qin period---- an ancient regional culture which he is related to by birth.

无论是对情境的的诗性体验还是对神秘存在的激情表达,他的作品总是充满着生命和精灵交织的神秘与热烈,在浪漫璀璨的外表下潜藏着厚重的思虑,这不仅与当代艺术主题和审美经验相映照,而且与中国文化传统,尤其是具有浪漫抒情气质的先秦&楚骚&文化的脉络相契合,后者显示了他的出生地的水土渊源。

It is "Chinese elements" that make Chinese think over and redigest the distillate in Chinese tradition culture and apply it to the modern products at the ethical angel.

&中国元素&让中国人站在民族角度,重新认识和挖掘中国传统文化的精华并进行现代化应用,它既是一次广告界的集体反思,也是对民族精神的寻找和民族自信心的重建。

Beijing Cloisonne process in Chinese traditional ceramic and metal technology under the influence of technology, the technology with their own characteristics and formed a unique style and artistic characteristics of a culture of Beijing an important part, with the corresponding era of social and cultural life are inseparable , Then the aesthetic concepts, lifestyle, social background, production technology and other factors affected the way Shippo the formation and development direction.

北京景泰蓝工艺在中国传统金属工艺和陶瓷工艺的影响下,凭借自身的工艺特点,形成了独特的风格和艺术特征,成为北京工艺文化的一个重要组成部分,与相应时代的社会文化生活密不可分。当时的审美观念、生活方式、社会背景、生产技术等因素综合影响了景泰蓝的形成方式和发展方向。

By analysing practices of Chinese enterprises strategy adjustment, the author discovers four strategi...

本文通过分析核心竞争力的确立与战略调整的目标和方向、组织结构变革与业务流程重组、企业文化的建设和品牌意识的培养以及名牌的建设等几个关键问题,提出了中国企业战略转型的对策:1、以核心竞争力为本,完成企业战略的选择与调整,实现价值的增长;2、以提高运营效率为目的,调整企业组织结构;3、以建设适合的企业文化为基础,营造良好的企业发展氛围;4、以名牌产品为载体,拓展企业的市场空间。

Susanne has been traveling to China for the last past 5 years and observed the growing urban culture in Shanghai as well as the fast forward moving Chinese art scene.

在近五年的时间里,Susanne一直在中国各地游历,亲睹了上海城市文化的兴起,并深刻地体会到中国艺术场所的快速发展。

The fourth part probes the relationship between Monroe and the China Foundation for the Promotion of Education and Culture as well as China Institute in America, and displays his umpty instructs in China after 1921, affirming Monroes profound influence in Chinese education.

第四部分求证孟禄与中华教育文化基金董事会及华美协进社的历史联系,以及他对中国教育的后续指导,凸显孟禄对推动中国近代教育发展所发挥的历史作用。

It was pointed out that moder furniture designing must be based on Chinese culture to create competitive furniture brands with Chinese characteristics.

在此基础上,提出了中国家具要想抵抗国外品牌的冲击,必须立足于本土文化,创造出具有中国特色的家具品牌的观点。

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