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In Chinese culture, we emphasize humane morals, artistic accomplishment and pursue integrity while the West put more emphasis on matters, science, religion and many unique ethoses of different times.

文化传统不同就会反映在室内设计的风格上,也就是室内设计文化的差异。文化差异不同,我们就需要分开来研究中国室内设计的文化和西方室内设计的文化

The study, combined with fieldworks, puts forward three-stage theory and typology of the professional development of multicultural teachers in ethnic areas, i.e., three stages: from multicultural unconscious stage and multicultural awakening stage to multicultural action and critical stage; four types of multicultural teachers:"an insider from the inside","an outsider from the inside","an insider from the outside" and "an outsider from the outside".

本研究提出少数民族地区多元文化教师专业发展分为多元文化无意识、多元文化觉醒、多元文化行动与批判三个阶段;多元文化教师可以分成&来自内部的局内人&、&来自内部的局外人&、&来自外部的局内人&和&来自外部的局外人&四种类型。

This paper presents an attempt to analyze the internal contradictions disclosed in the presentday mass culture models and a tentative study on the special roles of ethnic art under the conflict of civilization and the tension of globalization with the exemplification of the problems brought forth by the Nanning International Folksong Art.

对于当代中国的文化现状和文化发展而言,全球化问题的讨论,首先是文化领导权的问题。其次是新文化建设的基础和模式问题,最后,还有一个理论与实践的关系问题,只有成为无数普通劳动者、普通文化消费者的文化实践,理论的力量才是强有力的和有效的。

However, the author of the thesis put forewords his original viewpoints——The main stream of Chinese national culture is not only Confucianism Culture, but also Emperors-and-Kings Culture. The relationship between them is both opposite and merged.

传统观点认为,中华民族文化的主流就是儒家文化,但本文作者提出自己独到的观点:中华民族文化的主流既包括儒家文化,又包括帝王文化,二者之间存在着对立与交融的关系。

In the general comment, President Lin Chun-shin pointed out that the book represented the fruit of conserving the Taiwanese culture by cultural workers. However, as the Taiwanese culture was easily affected by foreign cultures, it changed rapidly and to an extent of chaos. Therefore, we wished that we could find a new set of everyday life rules in the new civilization in order to improve the human living environment and efficiency to a higher level with new technologies and the new system.

林俊兴董事长於总评时指出,本书是文化人士为保有台湾文化的成果,然而台湾文化易受外来文化影响,而呈现文化快速变迁、混乱的一面,因此我们期盼能从新文明中找出另一套未来生活法则,利用新科技与新系统将人类的生活环境与效率提升到另一个新层次。

On the other hand, the concept of modernization shows indifferent neutrality while westernization has distinct value-orientation. The Western culture is the fruit of long-time exchange and evolvement of human cultures and it still needs to improve itself. The wider modernization expands, the more countries it involves, and the further it departs from westernization. Non-European and-American countries on the way of modernization have to harmonize old culture and new culture after transforming them to adapt to each other.

从否定的角度看,现代化是一个价值中立的概念,而西化或欧化则是一个价值取向很强的概念;现代化中的许多内容都是中性的东西,不涉及价值取向;现代化虽然源头在欧洲,但西方文化并不是西方人独自创造的,而是人类文化长期融合、发展的结果;西方现代化模式还不完满,还需要探索和改进;现代化的过程虽然从整体上看是欧美现代文明在全球扩张的过程,但现代化的范围越大,卷入的国家越多,现代化的特色就越多,现代化离西化或欧化就越远;非欧美国家的现代化,不仅是一个新文化取代旧文化的过程,同时也是一个旧文化接纳新文化和新文化改造、融合旧文化的过程。

Chapter one explains humanistic culture is the fruit of human being exceedingly pursuing spirit and culture, whose generation and evolution behave as a evolving process of ecosystem, consequently discusses the humanistic ecology originating from such evolution. The scientific concept of humanistic ecology is put forward depending on humanistic culture in china and western country and modern ecological science, its research spread out from many different visual angle in humanistic culture ; analyses survival corners and spiritual crises confronted by humankind in modern times by means of applying integrity of ecological science and systematic research; indicates that only when solving crises on humanistic ecology will we further settle down crises on the big cultural ecology of human survival and natural ecology .

第一章说明人文文化是人类超越性追求的精神文化成果,人文生态是在中西方人文文化和现代生态科学的基础上提出的科学概念,其研究是在人文文化的多维度、多层次的视角展开,运用生态科学的整体性和系统研究的方法去分析人类现代所面临的生存困境和精神危机,指出只有解决人文生态的危机,才能进一步解决自然生态和人类生存的大文化生态上的危机。

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。

It is assumed that metaphors and metonymies are to a large extent culture-specific because the domains of experience are not necessarily the same in all cultures; that by investigating the conceptual metaphors rooted in a certain culture we can find out the conceptual system underlying the culture and understand the essence of the culture.

本文认为由于在不同文化中经验域不尽一致,隐喻和换喻在很大程度上与文化相关,通过考察某一文化中的概念隐喻,我们能发现该文化的概念系统并理解该文化的精髓。

Other cultures have other canons of classics, however, and a recurring strain of neoclassicism appears to be a natural expression of a culture at a certain moment in its career, a culture that is highly self-aware, that is also confident of its own high mainstream tradition, but at the same time feels the need to regain something that has slipped away: Apollonius of Rhodes is a neoclassic writer; Ming ceramics pay homage to Sung celadon porcelains; Italian 15th century humanists learn to write a "Roman" hand we call italic; Neo-Babylonian culture is a neoclassical revival, and in Persia the "classic" religion of Zoroaster, Zoroastrianism, is revived after centuries, to "re-Persianize" a culture that had fallen away from its own classic Achaemenean past.

其他文化有其他经典的经典,然而,周期性应变的新古典主义似乎是一种自然表达的文化在某一时刻在其职业生涯中,文化是非常自我意识,这也是它自己的信心高主流传统,但同时认为有必要恢复这一组织已溜走了:阿波罗纽斯的罗德是一个新古典主义的作家;明陶瓷顶礼膜拜宋青瓷瓷器;意大利15世纪人文主义学习写&罗马&一方面,我们呼吁斜体;新巴比伦文化是一个新古典主义复苏,并在波斯的&经典&的宗教Zoroaster ,拜火教,是恢复后,百年来,&重新Persianize &的文化,已经下降远离自己的经典Achaemenean过去。

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