多元文化

On the poet's choice, mainly be decided by two standards, one is the popularity and influences of works; two is the meaning of the creations development that it create for the whole colony. Owing to above two standards, the writer chooses seven writers to launch the treatise, they are Jidi Maja, Jimu Langge, Luwu Laqi, Ma Deqing, Aku Wuwu , Asu Yuer, Eni-Mushashijia. In discussing the process, the writer used the nationality and Poetics of the poem as the latent clues, emphasized to inquiry into three main roads and three main realms. On the article structure, the full text mainly is divided into two parts, one is the concrete imago analysis to each poet creations, two is upon the analytical foundation the integration of the theories, with this the treatise could be united into an organic whole. In regard to the conclusion, we educe the characteristics of the colony is deep consciousness to the nation culture, also extensive exploration and attention to poetics. The blemish is the inside emotion and sensibility is similar or duplicate and that the creation pattern is narrow. The main develop threads of the colony are upon the female clan culture the diverse poem skill investigation, its nation culture value tropism present the rising spiral type of return- leave- return again.

在研究方法上，本文以意象分析法为贯穿全文的主要方法，通过对意象的具体分析来透视凉山诗群的诗歌世界；在诗人的选择上以其作品的影响力及意义为标准，选择了这一诗群的七位诗人展开论述，他们分别是吉狄马加、吉木狼格、倮伍拉且、马德清、阿库乌雾、阿苏越尔、俄尼·牧莎斯加；在论述过程上，笔者以诗歌的民族性和诗性作为前后贯穿的潜在线索，着重探讨了这一诗群创作的三个主要倾向和三个主要领域，前者详论，后者略述，具体表现在对前三位诗人的论述以诗人论的形式详细展开，探讨他们所代表的凉山诗群发展过程中的三个主要创作倾向，即民族文化的深层开掘、诗艺的实验性探索和艺术哲学的尝试性建构，对后四位诗人的论述则以主题的方式展开，探讨他们所代表的凉山诗群在爱情诗、乡土诗和文化诗三个领域的探索；在文章结构上，全文主要分为两大板块，一是对各位诗人创作的具体意象分析，二是在前文分析的基础上进行理论的整合，以此将前面散珠似的论述贯穿成一个有机整体；在结论上，我们通过整合得出：1、凉山诗人群新时期以来诗歌创作的大致发展脉络：在母族文化的基质之上的多元诗艺探索，其民族文化价值取向呈现为回归—离去—再回归的螺旋式上升形态；2、新时期彝族凉山诗人群汉语诗歌创作的特点，即民族文化意识的深层自觉，对诗性的关注和探索；3、新时期彝族凉山诗人群汉语诗歌创作的缺陷，即情感意蕴的雷同和创作格局的狭小。

In the exclusivism, inclusivism and pluralism three basic attitudes facing pluralistic religions reality, pluralism showed rather a kind of cultural attitude than a kind of truth-claim.

在徘他主义、包容主义（indusivjs叫和多元主义三种面对多元宗教处境的基本观点中，多元主义更多的体现为一种文化态度，而不是某种真理宣称。

This study describes the multi-facet systematic evolution of the said rural community from 1907 to 2007: from the perspective of ethnic culture, it has changed from a single ethnic cultural community of Yoghur(Ethnic Yugur\'s self-name) ethnic group into a multi-ethnic cultural community with Yoghur ethnic group as the dominating majority and embracing the ethnic groups of Han, Tibetan, Tu, Mongolian and Kazak; from the perspective of language, it has changed from a community where Yoghur and Tibetan languages dominated with the local Chinese dialect and the written Chinese language as the subordinate into one where the local Chinese dialect and the written Chinese language dominate with the Yoghur language as the subordinate; in the perspective of marriage and heirship system, from a parallel operation of two systems (patrilineal heirship for official marriages and matrilineal heirship system for matrimonial forms through the head-wearing ceremony) to monogamy and patrilineal heirship; in the perspective of means of living, from animal husbandry complemented with hand knitting and camel caravan transporting to agricultural farming complemented with animal husbandry and many others; in the perspective of social organization, from a traditional tribe to a modern country society; in the perspective of political system and social management, from the customs-authority management which combined the dominating headman hereditary system under the tribal union of an imperial dynasty and the subordinating elite influence, to the resource-interest management of party-government departmental system under the ethnic minority autonomy of a nation state; in the perspective of religious faith, from a coexistence of the Gelug Tibetan Buddhism and Shamanism and the devout ancestor worship to the currently prevalent ancestor worship with religions declining and faith weakening; in the perspective of education, from the local-knowledge-oriented education to an official-knowledge-oriented education, in which modern schooling has become the major educational organization instead of the former traditional temple education; the school has replaced the temple as the "knowledge-culture" communication center; at least in the minds of the local people the central role of family education during the children\'s cultural development has also been replaced by schooling.

本研究描述了1907～2007年间，这个乡村社区的多面向的系统变迁：从族群文化的角度而言，从一个以尧乎尔为绝对主体的单一族群文化社区转变为一个以尧乎尔为主体的、有汉、藏、土、蒙古、哈萨克等组成的多元族群文化社区；从语言文字的角度而言，从一个以尧乎尔语和藏文为主，以汉语方言和汉文为辅的社区转变为一个以汉语方言和汉文为主，以尧乎尔语为辅的社区；从婚姻与继嗣制度的角度而言，从一个双系并行(明媒正娶婚行父系继嗣制度，帐房戴头婚行母系继嗣制度)的社区转变为行一夫一妻制和父系继嗣制度的社区；从生计方式的角度看，从一个以畜牧业生产为主，以手工编织和驼队运输为辅的社区转变为一个以农业为主，以牧业为辅的、多种生计方式并存的社区；从社会组织的形态而言，从一个传统部落社会转变为一个现代乡村社会；从政治制度和社会控制的角度而言，从帝制王朝的部落联盟制下头目世袭制为主，户族精英为辅的习俗—权威型控制方式转变为一个民族-国家中民族区域自治制度下以党政科层制的资源—利益型控制方式；从宗教信仰的角度而言，从一个格鲁派藏传佛教和萨满教并存，祖先崇拜之风甚烈的社区转变为寺庙衰落、信仰淡化、惟祖先崇拜仍广为流行的社区；从教育的角度而言，从一个以地方知识教育为主的社区转变为一个以官方知识教育为主的社区，现代学校教育取代了传统寺庙教育成为社区的主要教育组织形式，学校取代寺庙成为"知识—文化"传播的中心，在青少年儿童的文化成长过程中，家庭教养扮演的中心角色，至少在乡民的观念上被学校教育替代。

However, political culture among villagers is multi-level and pluralistic, ranging from civil culture, traditional passivity and obedience to the culture of the rioter.

不过，目前村民的政治文化是分层的、多元的，既有公民文化、顺民文化，也有臣民文化，还有暴民文化。

The sixth part is a conclusion which summaries the wayang's feature of multi-fusion and analyzes its developmental status as well as the challenges and prospect it faces. It also points out that on the premise of maintaining the nation's own cultural character, multi-fusion functions as an important push and promotion to the development of nations and cultures.

第六部分是结论部分，总结哇扬戏剧的多元融合特性，分析哇扬艺术的发展现状、面临的挑战及前景，并指出在保持本族文化个性的前提下，多元融合对民族和文化的发展起着重要的推动和促进作用。

Secondly, Aikebaier Mijiti to grow up in the rightness the female traditional cultureof clan Kazakhstan and the written Chinese turn and foreignly the culture of in themeantime absorb, his work since rich the bottom of folks in Kazakhstan culture, againrich in diverse differences culture and accept combine and fusion of characteristics.

其次，艾克拜尔·米吉提是在对母族哈萨克传统文化和汉文化及外来文化的同时吸取中成长起来的，他的作品既富涵哈萨克民间文化的底蕴，又富于多元异质文化兼收并蓄和融合的特点。

From the standpoint of the conditionality between culture and ethic, this paper has inquired into the relationship between the Chinese traditional culture and i ts ethic in the perspective of culture. Based on the elucidation of the structure, especially the genotypical structure, of the Chinese traditional culture, it has exposed not only the genetics and the developing process of the Chinese traditional ethic and of the corresponding ethics, but also the cause of its expansion and its stability in the wh...

以文化与伦理相互制约立论，从文化视角对中国传统文化与伦理道德的相互关系进行考察，揭示传统伦理道德及其学说的发生、形成及其在传统文化中扩张和稳定性的根源；依据中国传统文化的&基因&结构，从不同侧面阐述传统伦理道德在整个文化结构中的地位；根据中国传统文化多元整合的特点，揭示伦理道德及其学说在传统文化中扩张的道路和机制。

However,because of the individuality,historical accumulation and heritage of national culture that produces the prohibition of foreign cultures from introduction into the original one,the foreign culture should seek the permission and cooperation of the original culture when it aggresses into the original one even though the present world enjoys a cultural globalization...

但是由于民族文化的个性化、历史的沉淀和传袭产生了对异质文化的排它性。故异质文化输入原质文化过程中既呈现一定的个性张扬，又体现&本土化&旨归；既寻求原质文化的认同和合作———建立在符合原质文化的思维、认知、心理、审美以及其语理语性的基础上的认同和合作，又倡导文化多元的世界里原质文化自身发展和进步的需要。

Especially,we must enhance the study of China′s minority aesthetic theory and practics,and then integrate it with Han aesthetic study.

中国美学研究更不能固守汉族美学的传统，而应具有多元民族文化的视野，必须加紧研究少数民族的审美理论与实践，使汉族美学与少数民族美学相结合，使中国美学和西方美学相结合，形成具有中国多民族、多元审美文化特色的现代美学体系。

They are propagators of their own national cultures which tell us different culture traditions and peculiarities.In the age of multi-developed culture,we have to review our own national culture traditions by referring to each other in order to break through the old culture system,and intensify the communications and conversations between eastern and western culture to fulfill modern type-changing of national culture

两位作家都是民族传统文化的阐扬者，但他们笔下女性形象的差异又让我们看到了不同的民族文化传统与文化特色，在当今这个文化多元发展的时代，我们必须通过&互相参照&来重新审视本民族的文化传统，以突破旧的文化体系，同时必须加强东西方文化的交流与对话，真正实现民族文化的现代转型。

For a big chunk of credit-card losses; the number of filings (and thus charge-off rates) would be rising again, whether

年美国个人破产法的一个改动使得破产登记急速下降，而后引起了信用卡大规模的亏损。

Eph. 4:23 And that you be renewed in the spirit of your mind

弗四23 而在你们心思的灵里得以更新