创作

The most varied incidents – finding the sketch of a ground – plan at an exhibition, viewing a house, a childhood memory and many others besides – give rise to drawing in which the original structures have been changed and filled with a multiplicity of different ideas and fantasies.

建筑，尤其是有着人活动轨迹的建筑空间，成为他创作的重要因素。经他用色彩创作过的空间，或者充满着艺术家童年的回忆，或者启用了不同想象资源。而他所有的色彩与线条，都是极具个性化的。

There is a profound cultural accumulation in Chinese people's understanding of the relationship of craftsmanship and nature, form and spirit, skillfulness and clumsiness in wooden material. Therefore, although Fu Xinmin's contemporary sculptures have taken in the concept and method of western contemporary sculptures creation, the Chinese culture root in his works is still so strong and distinct.

中国人对木质材料的人工与自然的关系，形与神的关系，巧与拙的关系，文与质的关系，都有着深厚的文化积淀，所以，尽管傅新民在现代雕塑的创作中也吸收了西方现代雕塑的创作理念和方式，但是，他的作品中的中国文化的根性仍然是那样强烈，那样鲜明。

There are some conflicts among his characteristic, his literary theories and his poems. For examples, he declared his famous"non-personality"opinion in his article"Tradition and the Individual Talent", while he was a typical solipsist; he loved the traditional culture and classic literature, but he did reform the language of modern poetry.

事实上艾略特本人的思想背景以及文学观点与他的创作实践之间存在多处看上去矛盾的地方，比如，艾略特本人是位典型的唯我主义者，却在理论论述中强调非个性化对诗歌审美价值的重要；他醉心历史文化及古典文学，却在自己的诗歌创作中大胆进行语言实验，突破前人的表现手法；他大半生深刻感受时代和个人悲苦的折磨，却极力贬低浪漫派的伤感滥情，时刻在诗作中保持嘲讽和幽默的姿态。

The thesis is composed of four parts: the introduction part analyzes the history, current situation, as well as the thought of the traditional instrument as the solo instrument; Chapter one introduces the conception and the musical structure; Chapter two illustrates the variation of the theme and the harmonic organization; Chapter three analyzes the techniques of the control to the rhythm, and the orchestration as well.

本文分为四个部分，在绪论中，考察了以民族乐器作为独奏的协奏曲的历史、现状及其观念；第一章介绍了本作品的构思与曲式结构；第二章对主题的音高变化与和声组织进行了阐述；第三章又对节奏控制技法和配器技法进行了分析，并用较多的谱例来说明乐队织体形态对塑造音乐形象的重要性；结论总结了创作中所体现出的思想观念，并对此类协奏曲创作对戏曲音乐发展的重要性和必要性提出了自己的看法。

They are Song and Dance Ensemble, Mongolian Drama Troupe, Ethnic Symphony Orchestra, Mongolian Youth Chorus, Mongolian Ensemble, Wild Horse Horse-head Fiddle Ensemble, Center for Films and TV Plays, Stage Art Production Center, Artistic Creation Center and Performance and Exchange Center.

内容： 内蒙古民族歌舞剧院内设歌舞团、蒙古剧团、民族交响乐团、蒙古族青年合唱团、蒙古乐团、野马马头琴乐团、影视剧中心、舞美制作中心、艺术创作中心、演出交流中心等12个职能机构，有国家一级演员51人、国家二级演员140人，主要任务是从事民族歌舞和蒙古剧的创作和演出，促进交响乐、蒙古族合唱艺术和以马头琴为代表的民乐等各类民族艺术的全面繁荣和发展。

Even the divine Plato speaks of the creative power of the poet for the most part ironically and as being on a level with the gifts of the soothsayer and interpreter of dreams, since according to the traditional conception the poet is unable to write until reason and conscious control have deserted him.

同样，英明的柏拉图就多半只用讽刺的态度谈论诗人的创作能力，因为这是一种不自觉的识力；他把诗人的能力与预言家和解梦人的天赋才能同列，这就是说，诗人在失去自觉忘掉理性之前，是不会有创作能力的。

According to this, this text is at expert scholar the leading of the cultural heritage work under, as to it's the night song give musical performance technique to carry on superficial analysis, but because of the restriction of space, the writer is in the text with it created in early days of several head 《night song 》for discuss creations and gave musical performance technique point to be attended to, hoped can be piano fancier and in the days to come others study originally the topic provide to draw lessons from just some little.

基于此，本文在专家学者文献著作的引导下，对其夜曲演奏技巧进行粗浅的分析，但因篇幅的限制，笔者在文中以其早期创作的几首《夜曲》为论述创作与演奏技巧着眼点，希望可以为钢琴爱好者及日后他人研究本课题提供些许借鉴。

Based on the summary of the works on " humanism studies " of chinese scholars in recent one hundred years, this paper explains the connotation of " humanistic spirit " and the relationship between natural sciences and humane studies, discusses the methods and skills to embody humanistic spirit in popular science writing, and quoated in particular the writing examples of the famous modern popular science writers to support its points.

摘 要］本文在总结了近百年来我国学者对"人文科学"的有关论著的基础上，说明了"人文精神"的内涵，以及自然科学与人文科学的关系；探讨了在科普创作中体现人文精神的方法与技巧；特别是引用了现代著名科普作家的创作实例，佐证了文章的立论。

He created the Peanuts comic strip and the little cartoon character whose kite would never fly and who never succeeded in kicking a footabll -Charlie Brown .

他创作了国家连环漫画《花生》，还创作了一个小卡通人物查利ˋ布朗--他的风筝永远也飞不起来，他永远也踢不到足球。

Traveled to Taiwan, Hong Kong, Singapore with solo exhibitions in 1949. Traveled again from Hong Kong to Indonesia in 1950, created plenty of landscaping and still life drawings in the peak of his career. Returned to China in 1959. Teacher of Shanghai Art College, member of Shanghai Oil Paintings and Sculptures Studio in 1965. Syndic of Shanghai Art Association, Shanghai Culture Committee, Shanghai Jiaotong University Art Consultant.

先后在上海美专、新华艺专、杭州艺专执教。1949年间赴台湾、香港、新加坡旅行写生并举办画展。1950年由香港赴印度尼西亚，在那里创作了大量风景和静物画，那时可说进入了他的艺术鼎盛期。1959年离开印度尼西亚回国，到上海美术专科学校任教，1965年在上海油画雕塑创作室从事绘画创作。

What would he tell Judith and the children?

他将怎样告诉朱迪丝和孩子们呢？

I this is at that time, the opinion with peacockish true girl is full of in a heart.

这就是当时的我，一个心中布满虚荣的女孩子真实的想法。