拘泥的

This thesis has carried on some new explorations and researches in following three aspects: A. researching the combination course between rites and penalty law, we focus on the juristic basis, the legislation and the judicative practice in Chinese ancient times, and then gave three-dimensional demonstrations; B. we draw our conclusion about the nature of the syncretism of rites and penalty through paying attention on the interactivity of rites and penalty, not only on the unilateralism of them; C. we discuss on the value orientation of the syncretism of rites and penalty by comparing rites with penalty, which was determined by rank, patriarchal clan system, ethicality and sociality.

本论文在以下三个方面进行了一些新的探索和认识：在探索礼刑结合的过程中力图从思想层面的法理认识、立法层面的法律规范和实践层面的司法活动三个方面的结合分析中，形成立体化的论述；在认识礼刑结合的本质上，强调"礼"与"刑"的互动性，而不拘泥于传统的儒家思想改造刑律的单向化描述；在认识礼刑结合的价值取向上，从"礼"与"刑"的异同出发，点破了礼刑结合的价值取向在于等级性、宗法性、伦理性和社会性。

This thesis has carried on some new explorations and researches in following three aspects: A. researching the combination course between rites and penalty law, we focus on the juristic basis, the legislation and the judicative practice in Chinese ancient times, and then gave three-dimensional demonstrations; B. we draw our conclusion about the nature of the syncretism of rites and penalty through paying attention on the interactivity of rites and penalty, not only on the unilateralism of them; C. we discuss on the value orientation of the syncretism of rites and penalty by comparing rites with penalty, which was determined by rank, patriarchal clan system, ethicality and sociality.

本论文在以下三个方面进行了一些新的探索和认识：在探索礼刑结合的过程中力图从思想层面的法理认识、立法层面的法律规范和实践层面的司法活动三个方面的结合分析中，形成立体化的论述；在认识礼刑结合的本质上，强调&礼&与&刑&的互动性，而不拘泥于传统的儒家思想改造刑律的单向化描述；在认识礼刑结合的价值取向上，从&礼&与&刑&的异同出发，点破了礼刑结合的价值取向在于等级性、宗法性、伦理性和社会性。

Transcription, and analyzes Wangs inheritance, reproduction and development of Chinese ethical folk music. She also makes transverse comparisons between the musical forms of piano works by composers of both China and abroad, and illustrates that Wang uses for inference but not copies the western musical forms, that he attaches importance but not stickles to the framework of traditional Chinese music, and also that he demonstrates a characteristic of not sticking to one pattern. She makes contrastive comparisons as well of the melodies and harmonies of piano works by composers of both China and abroad, and indicates that in inquiries into the folk style of counterpoint, Wang is flexible and creative in harmonies by inheriting the character of a clear melody and the method of multi-voice in Chinese traditional music and also by absorbing the character of emphasizing the layers of texture in western piano music.

拿民族民间音乐与钢琴改编曲作纵向比较，分析其对中国民族民间音乐的继承再现与发展；拿中外钢琴作品的曲式原则作横向比较，说明他借鉴但不照搬西方音乐曲式规范，重视但不拘泥于传统中国音乐结构方法，在作品的结构上，呈现出不拘一格的特点；拿中外钢琴作品在旋律、和声等方面作相异比较，指出了在探索多声部音乐的民族风格过程中，王建中一方面继承了传统音乐中旋律线条十分突出的特点，另一方面又吸收了西方钢琴音乐注重织体的网状结构的特点，有意识地运用了我国民间多声手法，在和声的运用方面表现出灵活多样而又富于创新的特点。

I sometimes dream of a larger and more populous house, standing in a golden age, of enduring materials, and without gingerbread work, which shall still consist of only one room, a vast, rude,substantial, primitive hall, without ceiling or plastering, with bare rafters and purlins supporting a sort of lower heaven over one's head —— useful to keep off rain and snow, where the king and queen posts stand out to receive your homage, when you have done reverence to the prostrate Saturn of an older dynasty on stepping over the sill; a cavernous house, wherein you must reach up a torch upon a pole to see the roof; where some may live in the fireplace,some in the recess of a window, and some on settles, some at one end of the hall, some at another, and some aloft on rafters with the spiders, if they choose; a house which you have got into when you have opened the outside door, and the ceremony is over; where the weary traveller may wash, and eat, and converse, and sleep, without further journey; such a shelter as you would be glad to reach in a tempestuous night, containing all the essentials of a house, and nothing for house-keeping; where you can see all the treasures of the house at one view, and everything hangs upon its peg, that a man should use; at once kitchen, pantry, parlor, chamber, storehouse,and garret; where you can see so necessary a thing, as a barrel or a ladder, so convenient a thing as a cupboard, and hear the pot boil,and pay your respects to the fire that cooks your dinner, and the oven that bakes your bread, and the necessary furniture and utensils are the chief ornaments; where the washing is not put out, nor the fire, nor the mistress, and perhaps you are sometimes requested to move from off the trap-door, when the cook would descend into the cellar, and so learn whether the ground is solid or hollow beneath you without stamping.

我有时梦见了一座较大的容得很多人的房屋，矗立在神话中的黄金时代中，材料耐用持久，屋顶上也没有华而不实的装饰，可是它只包括一个房间，一个阔大、简朴、实用而具有原始风味的厅堂，没有天花板没有灰浆，只有光光的椽木和桁条，支撑着头顶上的较低的天，——却尽足以抵御雨雪了，在那里，在你进门向一个古代的俯卧的农神致敬之后，你看到衍架中柱和双柱架在接受你的致敬；一个空洞洞的房间，你必须把火炬装在一根长竿顶端方能看到屋顶，而在那里，有人可以住在炉边，有人可以往在窗口凹处，有人在高背长椅上，有人在大厅一端，有人在另一端，有人，如果他们中意，可以和蜘蛛一起住在椽木上：这屋子，你一打开大门就到了里边，不必再拘泥形迹；在那里，疲倦的旅客可以洗尘、吃喝、谈天、睡觉，不须继续旅行，正是在暴风雨之夜你愿意到达的一间房屋，一切应有尽有，又无管理家务之烦；在那里，你一眼可以望尽屋中一切财富，而凡是人所需要的都挂在木钉上；同时是厨房，伙食房，客厅，卧室，栈房和阁楼；在那里你可以看见木桶和梯子之类的有用的东西和碗橱之类的便利的设备，你听到壶里的水沸腾了，你能向煮你的饭菜的火焰和焙你的面包的炉子致敬，而必需的家具与用具是主要的装饰品；在那里，洗涤物不必晒在外面，炉火不熄，女主人也不会生气，也许有时要你移动一下，让厨子从地板门里走下地窖去，而你不用蹬脚就可以知道你的脚下是虚是实。

Neither the killing of Mr Zarqawi nor any breakthrough on the political front will stop the insurgency and the fratricidal murders in their tracks.

在对危险的南部地区访问时，他斥责什叶派民兵领导人对中央集权的挑衅行为。

In fact,I've got him on the satellite mobile right now.

实际上 我们已接通卫星可视电话了