文化的

The third group use the mass media to spread philosophies contradicting pop culture so as to stimulate the thinking and imagination of the public, which can be taken as artists' counterattack to the fast growing pop culture. The exhibition "Reproducer: Liu Qingyuan+ Sub-Condition" belongs to the third. The exhibition begins with the artist's serious work.

当然也有一些艺术家选择大众文化传播平台去传播与大众文化相左的观念，以刺激公众的思考和想象力，这可以看作是艺术家对迅速发展的大众文化的一种反击，像《复制者：刘庆元＋亚状态》展览就属于后者。

The soldierly virtue is an important component of the whole cultural system of Taijiquan.

太极拳的武德文化是太极拳整个文化体系的重要组成部分，研究太极拳的道德观有利于太极拳文化的发展。

In the context of globalization, the territorialization of culture leads to its deterritorialization, and the authority and originality of the original text is being questioned. The translator becomes the interpretative subject of construing culture.

在全球化语境下，旅行与翻译所形成的文化扩张必然会引起文化的非领土化扩张，原文本的权威性和原初性遭到质疑，译者成为主动建构文化的阐释主体。

Thisdissertation hold: law is the part of the culture, the CA cannot get rid of the certain culturalearth, and the certain cultural background decides the structure and working mode of theCA.

论文认为，法律本身就是文化的组成部分，刑事诉讼不能脱离特定的文化土壤，正是特定社会的文化背景决定了特定社会的刑事诉讼组织结构及运行模式。

It's indispensable to recognize the importance of protecting and developing Timbal culture/ We should adopt affirmative and effective steps to recur the resplendence of Timbal culture.

认识到保护和发展铜鼓文化的重要性是必要的，我们更要采取积极有效的措施来保护和传承铜鼓文化，使铜鼓文化的辉煌得以重现。

as language is both a transporter and an important component of culture, comprehension of cultural issues forms an important step in the teaching of english.

语言是文化的载体，同时又是文化的一个重要组成部分，因此文化知识的渗透是英语教学过程中不可缺少的一个重要环节。

Considering the reality of few academic researches about Uzbeks as well as the author\'s humanistic concern, this paper mainly discusses the changes of Uzbek nomadic society and culture.

本研究的意义在于"发现"乌孜别克族的文化传统，推动乌孜别克族非物质文化遗产代表作名录的申报与传统文化的保护工作。

These trends can be described variously in terms of the aestheticization of the economy and the commodification of culture.

在当代社会，随着经济的发展，在经济和文化之间有一个明显的收敛趋势，那就是经济的文化化和文化的经济化。

The Indonesian traditional drama wayang is typical of the traditional culture of Java which basically represents the survival philosophy of pursuiting harmony and moderation in the Java's culture, displaying the given achievements and developmental status of multi-fusion at different levels.

印尼爪哇岛传统戏剧哇扬作为传统爪哇文化的典型代表，从根本上体现了东方文化"天人合一"的综合思维和爪哇文化兼容并蓄、和谐随顺的生存哲学，在不同层面上呈现出多元融合的既定成果和发展态势。

However, during New Trend '85, Gu Wenda differentiated himself from most artists of Chinese Painting of the time and showed his contemporary consciousness by experimenting on traditional ink painting materials and techniques. This brought out a new possibility for the contemporaneity of Chinese Painting. Since then, unremitting efforts have been made to "modernize" Chinese Painting through traditional abstract elements like ink-wash and Calligraphy. These efforts streamed into a new trend called "modern ink"(or "abstract ink","experimental ink") in late 1980's, though seemed not widely acknowledged for its resemblance to Abstract Expressionism of 1960's and 1970's American art. What is interesting is that while some artists are endeavoring to "westernize" their art, a new trend grouped as "Neo-literati Painting" appears with very traditional form and mood. This can be explained as a group of people's resistance to the reformation of traditional culture as well as their nostalgia to traditional ideals. However, this school tends to be artificial for the absence of the particular context, and the expression with traditional brushwork is also regionally limited. Of all the efforts of reformation, Chinese Painting that accordingly adopts the tradition heads the list because of the cultural identification of the big number of population and greater market as a result of the economic growth of China. Meanwhile, the immense conservative inertia of traditional Chinese culture can also be detected.

在"现代艺术"风起云涌的"85新潮"中，谷文达以传统水墨的材料和方法表达出不同于当时大多数中国画艺术家们这种文化心态和文化认知的现代意识，为中国画的现代性提供了一种方案；以水墨、还有选择中国传统书法的抽象因素等可能来进行现代性探索，一直是中国画连绵的努力，在80年代后期汇聚成"现代水墨"（又或曰"抽象水墨"、"实验水墨"），是中国画的又一流向，但是不是没有脱离60、70年代美国的"抽象主义"意义，反而还有了拾人牙慧之嫌，所以始终难以获得更大的认可和成功；很有趣的是，与此"西化"流向同时的，还有以非常传统的方式出现的"新文人画"潮流，或许可以把这看着是部分中国文化人在中国以西方为参照的新文化背景下对之的抵制，对传统理想的怀念和诉求，但由于已经失去了其语境和环境，"新文人画"显得娇情和造作，而且这种以非常地域化的传统笔墨语言来表现的方式也失去了更为普遍化的可能；反而是延续传统一脉的国画，由于有巨大的人数基础的本土文化的认同，在中国经济发展后有了更大的市场，所以还是蔚然为中国画的一大潮向，从这也可以看到中国文化承传的保守性的力量。

But we don't care about Battlegrounds.

但我们并不在乎沙场中的显露。

Ah! don't mention it, the butcher's shop is a horror.

啊！不用提了。提到肉，真是糟透了。