文艺

Therefore to seek a synthesis of multiplicity and originality is a new task for contemporary literary criticism and theories.

如何在更为宏阔的视野中寻求多元综合与创新，是当代文艺理论批评面临的新问题。

Four years of rigorous training in lines delivery built our strong basics; thousands of live performances transformed us into the genies of the stage; and everyday's matinees shaped our crystal-clear voices and ready tongues.

四年的台词课训练，让我们打下了扎实的基本功！上千场的各类文艺演出，让我们犹如扎根在舞台上的精灵；每天清晨的练声课，让我们始终保持音质及嘴皮子的&通透纯净&和流利顺畅。

With our British and American counterpart medievalists, the performance in Taiwan is

国中古文学和英国文艺兴文学的时期做狭义的文学研究项目，而可以用文学研

It has unique research vision of its own despite the fact that it has drawn on narratology and literary theory.

尽管叙事教育社会学研究是从叙事学、文艺理论中借鉴过来的，但叙事教育社会学研究却有着自己独特的研究视野。

It is a level very hard to achieve, but with his long commitment to traditional Chinese philosophy and arts, ZHONG has achieved his new level of painting over the past years---- symbolic and expressive, free and magnificent. With jujutsu, acrobatics and other social subjects as his painting motifs, he has created, through "imaginative reconstruction" and "meaningless expression", many a coloring image combining fantasy and reality, i.e. many a painting of what he terms the "trace and image".

许多年来，钟孺乾把目光和心力投向尚虚与表意的中国哲学和文艺传统，取柔术杂技为母题，并与社会万象相联系，通过&想象性重构&和&无意味表达&，创造出&幻想&与&现实&叠合的图景，同时让笔彩与形象化生一体，弥漫成一种他之所谓的&迹象&，从而达成一种兼具象征性和表现力的、自在而恢宏的境界。

Moreover, postmodernist aesthetics and art as a significant component of the post-aesthetic culture yet remains peculiar in nature.

作为后现代主义文化的重要组成部分，后现代主义美学和文艺也具有自己的独特性。

It had great effects upon the traditional Chinese painting in the reformations of its functions and arts style.

20世纪以来，中国美术如同整个文艺一样，开始了由传统形态向现代形态的转换。

He made over 20 half-hour to hour-long television films for TVB between 1975 and 1977, including the drama Seven Women, the plot-driven CID and the thriller 13, trying his hand in scriptwriting, directing, editing and scoring.

他在1975-77年间为TVB导制了20多部长半小时到一小时的电视片，从重文艺性的《七女性》到重情节性的《CID》、悬疑性的《13》；全程参与编、导、剪接、配乐，不久即能掌控自如，个性风格渐显。

He made over 20 half-hour to hour-long television films for TVB between 1975 and 1977, including the drama Seven Women, the plot-driven CID and the thriller 13, trying his hand in scriptwriting, directing, editing and scoring. He soon mastered it all and began to develop a personal style.

他在1975-77年间为TVB导制了20多部长半小时到一小时的电视片，从重文艺性的《七女性》到重情节性的《CID》、悬疑性的《13》；全程参与编、导、剪接、配乐，不久即能掌控自如，个性风格渐显。

In 1982 Chen was invited to conduct the Asben Festival Orchestra in America and was hailed as a success. In 1984, Chen was appointed President of Shanghai Symphony Orchestra, and two years later was appointed Music Director, the first music director of any performing groups in Chinese history. Since 1985, Chen has appeared in nations and regions including the former USSR, Japan, Italy, the USA, the Great Britain, Switzerland, Korea, the DPRK, Thailand, Singapore, Australia, Germany, Denmark, Austria, France, Spain, Russia, Hong Kong, Macau and Taiwan, conducting native orchestras. In 1998, 1999, and 2000 he led the Central Chinese National Orchestra on its tours to many cities in Austria, Germany, Denmark. His concerts at the Grosser Saal Musikverein of Vienna and the Lincoln Center of New York have won enormous successes. In August, 2000, he led again the Central Chinese National Orchestra to perform in the "Chinese Culture in America" Festival, appearing in musical centers including the Lincoln Center.

上海音乐学院毕业后，曾任上海芭蕾舞团管弦乐队常任指挥。1982年他应邀在美国阿思本音乐节指挥音乐节乐团，大获成功。1984年出任上海交响乐团团长，1986年被任命为上海交响乐团音乐总监，成为中国文化发展史上第一位文艺院团的总监。1985年以来，陈燮阳先后赴苏联、日本、意大利、美国、英国、瑞士、韩国、朝鲜、泰国、新加坡、澳大利亚、德国、丹麦、奥地利、法国、西班牙、俄罗斯等国家和港、澳、台地区，指挥本团或当地著名乐团举办音乐会，均受盛赞。1998年1月和1999年2月，陈燮阳率中央民族乐团赴奥地利、德国、丹麦，在世界著名的维也纳金色大厅和柏林爱乐大厅，以及其他城市音乐厅举办中国新年音乐会。2000年8月，他又率中央民族乐团赴美国参加&中华文化美国行&的巡回演出，其中包括在纽约著名的林肯艺术中心举办音乐会。

In the negative and interrogative forms, of course, this is identical to the non-emphatic forms.

。但是，在否定句或疑问句里，这种带有"do"的方法表达的效果却没有什么强调的意思。

Go down on one's knees;kneel down

屈膝跪下。。。下跪祈祷