多元文化

Law culture surface layer structure, as the expression of the laws culture deep structure, under the condition of the China s accession to the WTO, especially international globalization, alters fast and changes into the trends of the modern accession and becomes an important non-slighting nacreous section of the culture in the world laws culture system.

内容摘要：法律文化的表层结构，实质上作为法律文化深层结构的法律意识形态的外在化表现形态，在中国入世的条件下，尤其是在世界经济全球化的浪潮中，迅速转型和改变，演绎成为现代化进程的趋势，成为多元并存的世界法律文化体系中不可忽视的、具有光彩的一只重要文化。

Global culture is no homogeneous and monistic, which is a heterogeneous and pluralistic culture embracing the advanced cultures of various nations.

全球文化不是同质和一元文化，而是由各民族的先进文化所组成的多元的和异质文化。

Moreover, most of them have already eliminated the scary part of image and only maintains the good wife one. Chapter five "genderal cultures in hetero-type marriage stores" discuss sources of those concepts and criticize them from feminine perspectives. This chapter emphasizes three aspects: rules for traditional wives in those stories, female images in those stories, and the communicative patter of the two sex in those stories. This chapter intends to find sexual cultures in the stories, explores discrimination in the patriarchic society and shows sympathy of it.

第五章〈异类婚恋故事所蕴藏的性别文化〉，采取综合讨论方式研究异类婚恋故事，一方面从社会背景追溯某些思想观念的渊源，另方面也参照当代女性主义思想加以批评，分就「异类婚恋故事中的妇职规范」、「异类婚恋故事的女性形象」以及「异类婚恋故事中的两性相处模式」三方面入手，主要是对异类婚恋故事做一统整，尝试找出故事里所反映的性别文化，以了解父权社会中的性别歧视、男性中心等现象，从而揭发女性在父权社会里的处境，并对其有著关怀与同情；另外，也关注故事里突破传统性别文化之处，因其提供了关於女性的新思维，让读者透过故事里不同既往的性别刻画，跳脱传统性别文化的拘囿，得以重新解读、认识女性的多元面貌。

The problem of geographical arts calls for our attention. The multiple development patterns of regional arts and cultural diversity have to be reconstructed in order to resist the cultural centrism, hegemonies and cultural bureaucracy.

美术的地域问题必须要引起关注，美术文化的多元发展格局和文化多样化必然要重新建构，以抵抗文化中心主义、霸权主义和文化官僚主义。

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。

The control over folk belief is just one of all the government's administration in this region.

近年来，在客家文化与中原文化和土著文化关系问题上，客家文化多元一体论逐渐为学者所接受。

This process also affects the evolution of historical linguistic geography in the Helong area.

如果说以上文化地理的研究体现了河陇与周边地区之间的文化的互动与交流，那么佛教地理的研究则更能看出边塞地带文化多元给异域文化在这一地域孵化、壮大与东传所带来的诸多好处。

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****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。

And to contact the Chinese old civilization to our gallery,made it to be a special one.We deeply believed that the more a cultural innovation emerged one after another,the more muti- environment and tolerate of the civilization to be needed.We encourage the art works which span the culture,language,space, gender as well,and try ours best to extend the artists who made great efforts to it.We also put focus on training chinese collectors,let more arts' fans have their own consume conception in art area.

我们深信越是文化的创新层出不穷，越是需要文化语境的多元和宽容，我们将鼓励跨越文化，语言，空间，性别等差异的艺术作品的创作，并不惜代价的在国际上推广这些为此付出努力的艺术家，我们还将在培养中国本土收藏家群体上做出自己的努力，让更多的人在文化的消费上有自己的主张。

As a kind of new developing culture phenomenon appearing in consumption-entertainment, network-image era,"spoof" had subverted, solved and removed royal culture freely. It makes the cultural ecological environment that all voices could express themselves more plur.

恶搞作为一种在娱乐消费、网络影像时代下出现的新兴文化现象，以一种自由肆意的文化姿态颠覆、解构了精英文化，使原本就众语喧哗的文化生态环境呈现出更加多元的态势。

This one mode pays close attention to network credence foundation of the businessman very much.

这一模式非常关注商人的网络信用基础。

Cell morphology of bacterial ghost of Pasteurella multocida was observed by scanning electron microscopy and inactivation ratio was estimated by CFU analysi.

扫描电镜观察多杀性巴氏杆菌细菌幽灵和菌落形成单位评价遗传灭活率。