中西

U in Fukien was the one of changing the religious education as the main into worldly education, as weU as changing Christian culture spread in China into the exchange between Chinese culture and western culture, also it was the process of Christianization coordinated with Chinese characteristics.

福建协和大学在闽办学的过程，是宗教教育为主向世俗教育为主的转变过程，是基督文化对华传布向中西文化交流为主的转变过程，更是基督化和中国化不断"协和"的过程。

By this contrast, we can see clerisy were in a dilemma when they faced the two kinds of culture, and willgive a more appropriate estimate.

本文力图通过对胡适和吴宓的比较分析，揭示当时中国知识分子在面临中西文化抉择时的矛盾心态，从而对文化激进主义及保守主义做出客观的评价。

In fact, collectivity-oriented collectivism and individuality-oriented individualism are two basic expressions of the Chinese and western cultural difference.

事实上，立足于集体的集体主义和立足于个人的个人主义是中西文化差异的一个重要的体现。

In fact, collectivity-oriented collectivism and individuality-oriented individualism are two basic expression_rs of the Chinese and western cultural difference.

事实上，立足于集体的集体主义和立足于个人的个人主义是中西文化差异的一个重要的体现。

The second chapter "literature discussion", discussion of affiliation watercolor painting unique esthetic sense and value and the light shade description, analysis water color landscape painting connotation and performance pattern, and by China and the West landscape painting famous expert's work, analysis discussion localization esthetic sense special characteristic, Again separately from the date according to the time and the early days of the restoration Taiwan water color artist work's style, the theme, the artistic vocabulary and so on with the scenery drawing related subject, explores the ponder direction which the author creates, and analyzes romanticism water colorist Tyner, understood that its creation style and the skill, take advantage of this define clearly the author the image which must transmit in the drawing, and because of artistic creation's practice, the idea and the skill fusion, the time can display the self-style the work.

第贰章「文献探讨」，藉水彩画独特的美感与价值与光影描写之探讨，分析水彩风景画的内涵与表现型式，并以中西风景画名家的作品，分析探讨本土化的美感特质，再分别从日据时期及光复初期台湾水彩艺术家作品的风格、题材、艺术语汇等与风景绘画相关的议题，探索笔者创作的思考方向，并分析浪漫主义水彩画家泰纳，了解其创作风格与技巧，藉此厘清笔者在绘画中所要传达的意象，并藉由艺术创作的实践，将理念与技巧融合，期能表现出自我风格的作品。

Therefore, the fusion of Chinese and Western become what people need a kind of enjoyment of life, simplicity, comfortableness, reasonableness and nature.

所以，中西融合才是人们需要的一种生活享受，简单、舒适、合理、自然。

However, there are also commonality of politeness strategies between China and the West.

但是，中西文化中的礼貌现象是存在着重叠和相似之处的，并且随着全球化进程的不断加速，这种共通性表现得越来越明显。

The existence of these three types of images indicates the cultural differences between the east and the west and demonstrates the distinction in the aesthetical ideals and creative ideas of individual authors, but the new immigrant novels also demonstrate their weakness in employing natural images to convey the communicability of the eastern and western cultures, the spiritual symbiosis and mutual-integration of the people from the east and the west, and the modernity of contemporary thoughts.

新移民小说中这三类自然意象的存在，具体体现了中西文化的差异，表现了作家各自不同的审美理想与创作思想。但是，新移民小说在通过自然意象表现东西方文化的相通性、东西方人精神的共生与共融性、当代思想的前沿性与现代性方面是远远不够的，值得我们深思。

Switching between the two cultures, I have benefited greatly from their complementariness.

经常游离于两种文化之间，中西文化的互补优势鲜明地凸现出来。

Our results show that there is no obvious conditional convergence in china, that is, given the same level of human capital, market openness and other factors the economic provinces have demonstrated an unconspicuous growth convergence.

本文研究得出，中国地区间的经济增长，存在不明显的条件收敛的特征，即在具有相同的人力资本、市场开放度等结构特征的经济地区间不存在明显的增长收敛趋势，但是存在着很显著的"俱乐部收敛"特征，即按东中西划分的区域内部人均经济产出具有明显的聚集现象。

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。