批评的

Frye's cultural criticism is in the dimension of literary theory.

作为文学理论家，弗莱的文化批评思想散见于他的各种著作，如《批评的解剖》、《批评之路》、《现代百年》等。

Second, reevaluation of the value and importance of Li Jianwu's literature criticism in the development of modern and contemporary literature, especially in the problems and shortcomings in contemporary literature criticism.

二是放到现当代文学批评的发展道路，尤其是当代文学批评中出现的问题与弊端中来重估李健吾文学批评的价值和意义。

There seems to be no close connection between them, but a further study leads to the fact that they are all connected inseparately to metaphysics,"the invisible hand" by which literary criticism is conducted.

形而上学是在批评背后操纵着的&看不见的手&，正是有关的形而上学理念规定着批评的意义诉求与运作旨趣，形而上学的演化逻辑则规约着批评的演化。

On Zhu's criticism of poetry, on the basis of previous studies, this paper thinks that the poetry criticism of Zhu mainly embodied in his understanding of history, and his exploring on the creative direction of poetry; he advocated "poetry prosaically" and the "inrtiopratation of poetry", the three aspects of the theory construct the overall framework of poetry criticism of Zhu.

关于朱自清的诗歌批评，本文在结合前人研究的基础上，认为朱自清诗歌批评主要体现在他会通古今，探讨新诗创作方向，提倡&诗歌散文化&以及提出&解诗&理论，这三个方面建构了朱自清诗歌批评的整体框架。

In chapter one,I willanalyse three methodological principles in Jameson's dialecticalcriticism,that is,totalization,mediation and historicization;in chaptertwo,I will discuss Jamesonian theory aboutf the political unconsciousand his Marxism hermeneutic system;and in the final chapter,I willexplain the various ways of Jamesonian narrarive analysis,and attemptto explore his unconscious of the cultural-political poetics by which anycultural text is read as both ideolegy and utopia.

在第一章，我们分析了詹姆逊的辩证批评的三大方法论原则：总体化、中介化和历史化，并依据他的元批评观点考察了他与当代西方的各种理论话语的关系。在第二章，我们主要介绍了他的政治无意识理论以及他的马克思主义阐释学体系，揭示了他的文学和文化批评的主要特征。在第三章，我们以詹姆逊本人的批评实践为例说明了他的叙事分析的基本理路，并对他的文化政治诗学——即把文化文本既看作是意识形态的，又看作是乌托邦的——本身的无意识进行了历史的分析。

The article is aimed to review and rethink its development process: flatly expiating the comprehensive causes.

现今有必要考察与反思它的发展历程，探究生态学批评产生的综合动因、生态学批评的人文运用以及生态学批评的局限性和矛盾比。

The thesis probes into Schoenberg' thinkings about music history, music nationalism, music education, music criticism, and music creation, respectively. There are some important viewpoints in Schoenberg's music thought: Firstly, Schoenberg's ideas of music history, he believes relationship of tradition and revolution in art is dialectical in nature, and argues that evolution in music was determined by natural law, obviously influenced by Hegel's philosophical history idea. Secondly, the thesis sums up his viewpoints of music nationalism, such as "lay stress on art music, look down on folk music","lay stress on western European music, look down on non- western European music" by Schoenberg's account about the reasons of the formation of national art, the dominant of national art and nationality in music; in fact, this viewpoint of western cultural centricity is one of his i mportant viewpoints throughout his life; Thirdly, Schoenberg's concept of music education: in his thought a composing teacher should teach the students how to master "the tool of art", train them for their ability of "one major and various kinds of techniques", try his best to nourish the student's personality; Fourthly, Schoenberg set forth some opinions about modern music critics and the method of music criticism: a music critic must be equipped with the quality of a music expert, and render composer's idea to the public by his art imagination, but not his personal opinion,and Schoenberg stress the areas of music criticism on style and idea ; Lastly, Schoenberg's concept of music creation: Expressionism and organism are two important issues in Schoenberg's thinking about music creation.

本文通过对勋伯格各类论文、书信、演讲、专著等文稿的评述，分别探讨了作为音乐思想家的勋柏格的音乐历史观、民族主义音乐观、音乐教育观、音乐批评观与音乐刨作观，并在此基础上总结了折射在勋柏格音乐思想中的几个重要观点：一，勋柏格对于音乐历史的认识：通过德奥音乐界前辈给予他的创作启示，以及勋伯格对自己几个创作阶段的发展历程的总结，阐述了他对于艺术中的传统与革新之间的关系的辩证认识，并通过这些问题总结出音乐的演进与黑格尔倡导的&历史发展必然性&哲学观念之间存在着必然联系；二，勋柏格的民族主义音乐观：通过勋柏格对于形成民族艺术特征的根本原因、民族艺术中的支配现象、民间音乐与艺术音乐之间的比较、音乐刨作中的&民族性&问题的意识等方面问题的剖析与认识，总结了他的&重艺术音乐，轻民间音乐&、&重西欧音乐，轻非西欧音乐&的观点，从而突出了他的精神领域中的根深蒂固的&德奥音乐中心论&，这是一个浸润着浓厚的西欧文化中心论色彩的观点，也是贯串他毕生的音乐思想的重要观点之一；三，勋柏格对音乐教育问题的见解：勋柏格认为作曲教师应该教会学生掌握&艺术的工具&、在教学中努力做到&一专多能&、注重个性培养；四，勋柏格对当代音乐批评家与音乐批评方法提出的要求：音乐批评家必须具备作为一名音乐家的专业修养，要以真实、客观的态度对待音乐批评这门神圣的职业，充分运用内心的艺术联想向公众再现作曲家的意图，而不是将个人见解强加于受众；同时，批评家需要对艺术的过去与未来拥有全面的了解与较准确的预测，在音乐批评的具体范畴中，应将重心角度置于探讨音乐作品的风格与思想之间的关系方面。

The focus of the present study is on ecofeminist interpretations of Willa Cather's major works as subversive texts, critical texts, and subtexts.

本文在对凯瑟的神话批评、浪漫主义批评、和女性主义批评的文献回顾基础上，将从生态女性主义视角解读和阐释凯瑟的主要作品。

Chapter Three offers a detailed study of the Chinese mistranslations of New Criticism. I argue that problems are largely due to the difficulty of understanding and translating syntactic complexities, key terms, and major New Critical teachings.

第三章具体讨论&新批评&在我国的误译问题，结合凯瑟琳娜·赖斯、尤金·奈达等有关翻译批评的论述，重点考察&新批评&理论在汉译中由于句法、核心术语与重要理论理解中的偏差而导致的误译。

Chapter One briefly introduces the rise of Anglo-American New Criticism and its Chinese reception. Drawing on Edward Said"s elaborations on "the traveling theory, I point to the misreadings and mistranslations that have appeared as a result of the resistances that the New Criticism has encountered in its travel in China.

第一章&引言&首先对&新批评&理论流派作简要介绍，概述我国对&新批评&的译介工作，指出其中存在着相当程度的误读与误译现象，联系爱德华·萨义德关于&理论旅行&的论述，提出论文将具体考察&新批评&的中国之旅，分析其遭遇的阻力。

However, as the name（read－only memory）implies, CD disks cannot be written onorchanged in any way.

然而，正如其名字所指出的那样，CD盘不能写，也不能用任何方式改变其内容。

Galvanizes steel pallet is mainly export which suits standard packing of European Union, the North America. galvanizes steel pallet is suitable to heavy rack. Pallet surface can design plate type, corrugated and the gap form, satisfies the different requirements.

镀锌钢托盘多用于出口，替代木托盘，免薰蒸，符合欧盟、北美各国对出口货物包装材料的法令要求；喷涂钢托盘适用于重载上货架之用，托盘表面根据需要制作成平板状、波纹状及间隔形式，满足不同的使用要求。