创作

This research is by collating the design style and property of Kidult, making the combination of design to reflect this trend. Through the collation of image works and the creation style of figure modeling, defining and classifying, the results relieve and popularize the spirit of design style of Kidult.

透过本研究整理相关Kidult的设计风格与特性，并与艺术创作的形式结合，以反映此设计潮流，根据本研究的相关整理之图像作品、人物造型的创作风格，加以定义及分类，提供成人孩童化的族群的抒压解嘲的作品，并推广Kidult精神的设计风格。

The writer treats the figure modeling design under this fashion by theory research of the preliminary classification and design of Kidult style. By combining of loveliness, humor, rebel, savage and bleakness, the creation shows the series of illustration pieces with uniqueness and meaning of era.

笔者即以理论研究与设计规划，来探讨此风格下的人物造型设计，延伸论述与创作，为Kidult设计风格加以初步整理分类，融合「可爱」、「幽默」、「反叛」、「暴戾」、「阴郁」之类型，创作出一系列独具特色及时代意义的插画作品。

On productions at the National Theatre, Skini and Nea Skini theatres, Aplo Theatro, Epochi theatre, Amphitheatro, etc., of plays by Shakespeare, Goldoni, Griboyedof, Turgenief, Chekhof, Gorki, O'Neill, Tennessee Williams, Arthur Miller, Pinter, Mammet, Orton, Aristophanes, Hourmouzis, Loula Anagnostaki, G.Dialegmenos, Euripides etc.At the cinema: Since 1983 she has been a permanent collaborator with Theo Angelopoulos, composing music for his films Voyage to Cythera, The beekeeper, Landscape in the Mist, The Suspended Step of the Stork, Ulysses' Gaze and the Cannes Festival Golden Palm award-winning film, Eternity and a Day. She has also composed music for films by Dimitris Mavrikios, Takis Kanelopoulos, Tonia Marketaki, Christoforos Christofis (Wandering / Rosa), Lefteris Xanthopoulos, Giorgos Koras Margarethe von Trotta (L' Africana), etc.

然后她回到雅典，上电台，办民族音乐试验室，1979年被她视为命运的转折点，她开启了电影作曲的职业生涯，合作者是希腊诗人兼新电影流派的导演Chistoforo Chillstofis，1982年Eleni Karaindrou因前者的影片&芳名罗莎&在塞瑟隆尼基电影节上获得原创音乐奖，颁奖人正是评审团主席Theo Angelopoulos，他们的合作也由此开始，以后的九年可谓硕果累累，两个人物以类聚，谁都没有辜负了彼此间的厚望。80年代安氏创作了他的&漂泊&三部曲，当首篇&塞瑟岛之旅&告竣之后，安氏在访谈录中称赞Eleni正是他所需要的那种博采众长且深具古典音乐实力的最佳搭档，Eleni不仅创作电影音乐，而且也涉足希腊的先锋戏剧，她的第二个丈夫就是一位戏剧导演，Eleni迄今已为35部剧本谱写了音乐。

The value of Blooming of Lantana lies in the characteristics of its thick woman creation and inspecting life with the view full of motherhood to taste life, furthermore in its peculiar narrative word and embodies woman to create with "white ink".

马樱花开》的价值也就在于其浓郁的女性创作特征，在于用充满母爱的眼光去观察生活，去聆听生命；还在于其独特的叙事话语；体现出女性用&白色墨汁&倾心创作的意味。

Faber invited a selection of prominent illustrators and printmakers to create the covers for the series; the results include a striking series of woodcut and linocut designs.

Faber邀请了著名的插图师和版画家创作一系列的封面；创作出了一系列醒目的木刻和 linocut 设计。

In general, the contributions he made can be examined in several aspects—"changing the status and appearance of scenery poems,"(consisting of transformation "from subordination to independence,""from xuan yan to natural world," and "from pure 'old style' verse to a creation in which ode was absorbed into poems")"causing symmetrical prose of Six Dynasty to be more mature,""contributing to the formation of Tang Dynasty's regulated verse,""inspiring multiple assessment of natural beauty for later generations,""providing excellent examples of creation for literates to come" and so forth.

最后，则以谢灵运山水诗艺术创作，在后世所产生之价值，如由其「改变山水诗之地位与面貌」(包含「自陪衬附属至主要独立之转化」、「由玄言哲理到山水自然之变换」、「从纯粹古诗到以赋入诗之创新」)、「促进六朝骈文之成熟」、「襄助唐代律诗之形成」、「启发后人自然美之多角度鉴赏」、「提供后世文人创作之借镜」等影响与贡献观之，可知其山水诗之成就，实不容抹煞。

From the cultural point of villagers'participation, Business card printing and membership card manufacturing workers as a back-end in a front end there are creative, publishing, for the reason that Shanghai China＇s modern business card printing and membership card making it the cradle of the understanding of the Shanghai cmpact had literators, creation and prosperity, which in turn driven publishing prosperity brought business card printing and membership card-making industry.

从文化产业链条的角度来考量，制卡和会员卡制作业是一个处于中后端的一环，前端还有创作、出版的环节，有关人士表示，早年上海之所以成为我国现代制卡和会员卡制作的发源地，正是因为二三十年代的上海集聚了一大批文人，创作繁荣带动出版繁荣，进而带动了制卡和会员卡制作业的发展。

Chi Li (1957-), a famous female "writer of mirror" in modern time, has been trying for more than 20 years to reveal the ordinary Chinese people s true life and change of attitudes to love and marriage in the period of economic transformation.

被喻为&镜子作家&的池莉遵循&忠实于生活本真，贴近平民生活&的创作原则，通过二十多年来的创作历程，真实地反映了中国经济转型期以来中国平民百姓的生活图景及婚恋观念的变迁。

As an avant-grade writer, Yu Hua melted plenty passions into creations and had a sentimental attachment to the narrative form and spiritual connotation of Western modernisms as well as Chinese traditional literature.

作为先锋派作家的余华将丰富的感情融入小说创作，在紧贴西方现代主义文学的叙事手法和创作精神的同时，又不失对传统文学叙事形式和精神内涵的温情眷恋。

I. Series of cultural continuity: Using the creative totem ornamentations, the vitalities of original culture becoming the creating energy of arts, and the attitude of cultural continuity that is creating by new concepts of the totem elements.

一、文化延续系列：运用图腾纹饰的创新，以原始文化的生命力做为艺术方面的创作能量，以文化传承关怀的态度，将图腾元素以新的理念作一创作。

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。