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The life-relatedness of poems of the early Tang Dynasty is seen in theexpression of the rise-and-fall theme of Urban Poems, the pursuit of individual valueof one's life of the Frontier Poets and Chivalry Poets, and the hope placed on lifeconsciousness in the intoning poems and peacefulness of life of the landscape poems,etc. In addition, it can also be seen in the expression of emotions and ambitions in aparticular image, the pursuit of and the persistence in integrity on the part of the poets,and in the choice and application of the different poetic forms like the Hepta-cantusand the sao style, etc.

初唐诗歌生命化现象普遍存在于都市诗对盛衰主题的表现、边塞诗和咏侠诗对诗人个体生命价值的追求、咏物诗对生命意识的寄寓和山水诗对生命的安顿等方面;此外,还体现在特定意象对情志的抒发,诗人对&风骨&的自觉追求和坚持,对诗歌形式诸如七言歌行、骚体诗等的有意识的选择和运用。

Taking into consideration the show's subject and theme, as well as the practical restraints of the gallery halls, the featured artists only represent a small part of the talented photographers who applied. The recurrence of the young photographers exhibition and juried competition each year will undoubtedly attract the attention and support of the world and further the healthy development of Chinese contemporary photography.

出于对展览的脉络和主题的考虑,并且由于展览空间及其他方面的限制,入选展览的艺术家和作品只代表这批具有出色才能的艺术家中的一部份,但摄影奖评选及摄影奖作品展在未来的持续,无疑将吸引社会各界的关注和支持,促进中国当代摄影的健康发展。

It is their problematic which defines the field of knowledge where they can eventually unfold their formal identities, their thematic continuities, their manifestoes, their working tools, or their polemical dialogues.

这些预设就是他们的提问。正是他们的提问界定了知识场域,在这样的知识场域里,他们可以慢慢的展开他们正式的认同,他们主题的连续性,他们的宣言,他们的工作工具,他们的辩论式对话。

To be brief, the English romanticism on the one hand further pushes ahead the project of modernity in the artistic or aesthetic field, but on the other hand it also launches a vehement aesthetic critique of modernity, thus resulting in the birth of aesthetic modernity; the Chinese romantic movement represented by the Creation Society is characterized by a different Janus'face: like English romanticism, it is a significant artistic articulation of the principle of subjectivity (which is the kernel of modernity) in its initial stage, yet influenced by the interaction of individual enlightenment and the national salvation, a pair of conflicting themes typical of China's modernity project, the Creation Society gradually turns to the left and consequently not only radically politicizes its romantic spirit but also ironically suppresses the search of modernity.

简言之,英国浪漫主义思潮一方面在艺术和审美领域内进一步推进了现代性工程,而另一方面又反戈一击,对现代性工程进行了猛烈的审美批判,从而催生了现代性之另一对立性形态——审美现代性的最早萌芽,并因此而造成了现代性的分裂;以创造社为代表性个案的五四新文学中的浪漫主义思潮在中国的现代性语境下则又呈现出另一种两面性:一方面,创造社的初期也象英国浪漫派一样,通过在艺术和审美领域内竭力弘扬现代性的主体性原则,从而积极地推进了新文化运动所致力构建的现代性工程,但另一方面,个体启蒙和民族救亡两大中国现代性主题的纠结使得创造社在后期逐渐将其前期的启蒙浪漫主义进行了民族主义化和意识形态化,从而放弃了对现代性作更深入的追求。本文在结构上总共分为八章三部分。

There are much more papers which focus on the ruling style .we also can see some articles about the ruling style and the capacity of riling. But if we connect the basic theory of the CPC"s ruling by law with the Party"s ruling style at the Grass-roots Level in Chinese Villages and Towns, the paper about this is much letter. So I want to reveal this problem overall. And anticipate that it can provide a new way , which the Township party organizations can use it to rule by law and carry out the theory of establishing the party for the public and ruling for the masses. Finally it can help people construct harmonious Society and new county.

有关党的执政方式研究的资料不少,单纯研究基层党组织执政方式和执政能力的文章也有一些,但是将中国共产党依法执政的基本理论与乡镇党组织执政方式问题加以综合性系统的研究,尚属刚刚起步阶段,本文力图能够全面地展示该主题的全景,以期能为乡镇党组织依法执政方式研究开启新思路,进而在落实&立党为公,执政为民&,构建和谐社会和新农村建设的时代课题中起到应有的理论作用。

In the Seventeen-Year Literature, corresponding to the so-called Soviet Union"Thawed literature", there also arose a batch of literature works aimed at reviving the realistic spirits of the Soviet Union, which were termed as"BaiHua literature".

在&十七年文学&中,与苏联&解冻文学&相对应的,也出现了一批旨在复苏现实主义精神的文学作品——&百花文学&,但由于长期以来文学受制于政治的惯性的存在,无论是对创作主题的拓展还是叙事形式方面,这批作品虽较以往有重大突破,但与&解冻文学&相比仍存在着差距,更何况很快中国的创作环境恶化,中国的作家又被要求回到社会主义现实主义的清规戒律上去,现实主义又一次失落了。

Except that every period had individual expressions in its corresponding social subjects,reforms in contemporary sculpture were around how language acquires self-formation in line with Chinese contemporary spirits.

除了在每一个时期具有对应的社会主题的个人表达之外,当代雕塑的变革一直是围绕著语言如何获得与中国现代精神一体性的自我形式,当代全球主义的后殖民文化的语言策略的背景下:另一个重要实践则是如何转换中国传统语言和文化象征的现代特征,由于中国传统雕塑的民间性,这一实践实际上是以一个更大的文化符号和象征传统作为改造背景。

The information resource is fromthe teaching software school-made and from LANandInternet. As we know, to cultivate the ability of speaking, the environment forinformation resource is necessary.It does good to keep continuance interests incomputer learning.It is the opportunity of practice out of class and athome.Thereby modern education technique has entered pupils' daily life .

看图说话的信息资源来自学校自制的教学软件,来自局域网和互联网,培养学生看图说话的能力,需要有一个有利于信息资源开放的环境,这个环境是学生对计算机学科教学的持续兴趣,是学生拥有随时上机的条件,学校以计算机教育为主题的活动丰富多彩,并且向课外、家庭延伸,从而使现代教育技术真正进入学生的学习生活中。

After Oscar Hijuelos won the Pulitzer Prize for his sizzling novel of Cuba, The Mambo Kings Play Songs of Love, publishers competed to bring out books by Latinos from a variety of backgrounds: Julia Alvarez's vividly told How the Garcia Girls Lost Their Accents, about four Dominican sisters in the Bronx; Cristina Garcia's sprightly Dreaming in Cuban, about her immigrant family in Miami; Francisco Goldman's The Long Night of White Chickens, set during Guatemala's military rule; When I Was Puerto Rican, Esmeralda Santiago's dreamy paean to her childhood; Drown, Junot Díaz's prickly stories about Dominican street punks.

在奥斯卡·希胡罗斯以古巴主题的激情小说《曼波王演奏爱之歌》荣获普利策奖之后,出版商争先恐后推出各种背景的拉美裔作家的作品。于是便有了朱莉娅·阿尔瓦雷斯叙述布朗克斯区4个多米尼加姐妹成长故事的生动小说《卡西亚姑娘们不再带口音》;克里斯蒂娜·加西亚描绘她在迈阿密的移民家庭的清新明快的《梦回古巴》;弗朗西斯科·戈德曼以危地马拉军统时期为背景的《白鸡的漫长夜》;埃斯梅拉达·圣地亚哥追忆梦幻童年的《我是波多黎各人的岁月》;以及朱诺特·迪亚斯描写多米尼加裔街头无业青年严酷生活的短篇小说集《沉沦》。

Then, together, we built up the sotry like a chronicle, yet loosely enough to leave the last word to improvisation. In my last two films the choice of subject had scarcely encouraged improvisation. With Fahrenheit 451 and The Bride Wore Black I had ended up being interested in abstractions, and l felt the need to return to hte concrete, to the small happenings of life, even if l never los sight of Renoir's very true saying:"Reality is always like a fairy tale."

然后,我们创作了一个像编年史一样的故事,但仍然留有即席创作的自由空间,在我们最后的两部电影中,主题的选择上已经很少鼓励即席创作了,在&华氏温度451&和&黑色新娘&中,我已经失去了提炼的兴趣,而感到有需要回到一些具体的生活中发生的小事上来,即使我从来没有忘记里拉莉说的名言,&现实总是像神话故事一样&。

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