文艺的

The Adelaide Festival of Arts was the first international celebration of its kind to be held in Australia.

阿德莱德文艺节每两年举行一次，是在澳大利亚举办的第一个国际性文艺活动。

In 1990, as the Eleventh Asian Games host city of water sports, the opening and closing ceremonies of the large scale theatrical performances Qunyi Guan offers a comprehensive showcase for the stage, followed by the Seventh National Gameskai mu shi yan chu , the World B Class Cycling Championships opening ceremony of cultural performances, a nationwide "advocating science, doing away with superstition, clear the cult of" cartoon exhibition, the city's Ying-Qing Shi Liutai and the Sino-Japanese War and the World Anti-Fascist War to commemorate the 60th anniversary of the million people singing the General Assembly to commemorate the 110th anniversary of Mao Zedong's Square performance, Hebei Province, Qinhuangdao City, the Eleventh Asian Games and Asian Games opening ceremony of the fourth large-scale cultural and sports show,"Twenty-first Century International Chinese Music Festival"kai mu shi yan chu activities have been amply demonstrated the strength of large-scale events Qunyi Guan.

每年策划、组织、承办国家、省、市大中型群众文化活动几十项，有些活动在国内外产生了重大影响。50年代业余剧团的普及；60年代"南属上海，北属秦皇岛"的故事活动；70年代综合性的文艺汇演、调演；80年代的群众歌咏活动等都曾为群艺馆的历史写下光辉的一页。1990年，作为第十一届亚洲运动会水上运动项目的承办城市，开幕式、闭幕式的大型文艺表演为群艺馆提供了全面展示的舞台，接下来全国第七届运动会开幕式演出、世界B级自行车锦标赛开幕式文艺表演、全国"崇尚科学、破除迷信、清除邪教"漫画展览、全市迎庆十六大和纪念抗日战争暨世界反法西斯战争胜利60周年万人歌咏大会、纪念毛泽东诞辰110周年广场演出、河北省第十一届运动会和秦皇岛市第四届运动会开幕式大型文体表演、"二十一世纪国际华乐节"开幕式演出等活动都充分显示了群艺馆举办大型活动的实力。

Domestically, the cultural network founded by CETA is connected closely with the central and local artistic performance groups at all levels, performance stadiums and gymnasiums, cultural and artistic colleges and universities, artistic research institutes and cultural activity centers.

在国内，协会建立的文化交流网络与中央和地方各级文艺演出团体、文艺演出场馆、文化艺术院校、文艺科研院所、文化活动中心有着密切的联系。

In 1930ies, in which the political atmosphere was dense and intense, he elucidated Marxist literary and art theory from practice, emphasizing the identical relation of the essence in literature and art, politics, and life, advocating subjective activity of creation mainbody, and insisting on the method of literary or art criticism in practical significance.

在政治气氛浓烈的 30年代，他从实践出发阐发马克思主义文艺理论，强调文艺、政治和生活的本质同一关系，主张创作主体的主观能动性，坚持实践意义的文艺批评方法，见出他对马克思主义文艺理论精髓的领会与创造性发挥，以及追求真理的勇气。

In his own theoretical framework, Hu Feng found out an unique method of interpretation: to"twist"or even yield to his opponent for his own"Right", which immediately involves the originality of Hu Feng's theoretical system: he made Marxism subjective, combined it with literary and artistic practice since the May 4th Movement. This thesis takes"On the Way of Realism"and"Reports on the Literary and Artistic Practice since Literation"as the main texts for discussion, and concretely expounds Hu Feng's theoretical foundations and meanings as in"writing about reality","humanism","socialist spirit","Five Knifes".

因而，本稿把这两种文化作为胡风文学观的主要背景，基于对以毛泽东的文艺政策为代表的"抗战文化"的文化心理的理解，解明胡风文学观所体现的两种文化的冲突与整合过程。1949年新政权成立以后，以一种政策性的强制方式来把毛泽东文艺思想先验化、教条化，针对这一形势，胡风以"五四"传统作为自身理论的内在参照系，努力探索自身传统的历史合理性与必然性，而在自己的理论框架中，产生了一种特殊的解释方式，即为自己的"正确"，"曲解"对方，迁就对方，这直接牵涉到胡风理论体系的独创性：他把马克思主义主观化，与"五四"以来的文艺实践结合，由此建构出一套新的理论体系。

Both Mimetic theory and Expressive Theory affirm that literature is a kind of imagination, which makes literature differ from the other human activity.

摘要无论再现论还是表现论的文艺观念，都肯定文艺活动的想象性质，并试图在此基础上理解文艺活动的区别特征。

In the shape process of its own rational and the concrete shapepractice, it displayed an important and unique function to recruit and sublate modern ideain literature and arts from "May 4th" to 1930", to publicize and innovate the practicalsystem of "revolutionary literature and art "in liberated area and to have lasting effect onthe ruling party"s core idea of literature and arts policy.

它在自身理性和具体形态的实践塑形过程中，对&五四&至30年代现代文艺理念的吸纳与扬弃、对解放区&革命文艺&实践性体系的张扬与革新、以及对执政党文艺政策核心理念的持久影响，都发挥了重要的且独特的作用。

Chapter Four deals with Wen Yi monthly edited by Din Ling, It point out that :firstly, after liberation, the party culture ideology had changed Din Ling's original intention which was desighed for a literary journal, and turn it into the party organ whose fuction was to supervive national culture movement and to guide the battle in thought field.

认为：其一，建国后党的文艺意识形态改变了丁玲将《文艺报》办成文学刊物的初衷，而使之成为代表党的意志指导全国文艺运动与创作、参与并监控思想文化斗争的党的机关刊物；其二，尽管丁玲本人畏于文艺/政治斗争，但五十年代初丁玲及《文艺报》组织批判萧也牧的方式是建国初期文艺批评所谓群众批评模式的典范案例，这表现出丁玲对体制的努力适应与迎合；其三，&作家&/&主编&/&党的文化官员&/&党的文学教育者&的多重文化身份和文化认同使丁玲建国初期的&言&与&行&呈现出分裂、矛盾状态，这说明丁玲又不能被意识形态彻底整合。

In particular, a number of well-known writers and scholars to join, with its well-known and excellent works of similar calls, greatly enhance the taste of the literary supplement and expand the influence of the literary supplement to a newspaper literary supplement of the Republic has shown many splendours, genre scene of prosperity scene.

特别是众多著名学者作家的加盟，以自身的知名度和优秀作品相号召，大大提升了文艺副刊的品位，扩大了文艺副刊的影响力，使民国报纸文艺副刊呈现出绚丽多姿、流派纷呈的繁荣景象。

The works of some writers such as Huang Zhenxia, Hou Ruihua, Wang Guoan, Li Puyean, Wang Pingling, which published in right-wing literary periodical at that time, are the prime interpreted text. The author makes efforts to keep objective attitude towards the research object, with the principles of a conformation in the denial, a approval in criticism, endeavored to find out the historical values and the significances in literary history implying in the right-wing literary periodical.

黄震遐、侯汝华、邵冠华、万国安、李朴园、王平陵等在当时右翼文艺期刊的&重镇&所发表的作品是本章解读的主要对象，笔者对于研究对象尽力保持着客观态度，否定中有肯定，批判中有赞同，力图深度发掘沉积于右翼文艺期刊中具有的一定的历史价值或文学史意义；第八章关注的是右翼文艺期刊所进行的文艺理论建设。

On the other hand, the more important thing is because the urban housing is a kind of heterogeneity products.

另一方面，更重要的是由于城市住房是一种异质性产品。

Climate histogram is the fall that collects place measure calm value, cent serves as cross axle for a few equal interval, the area that the frequency that the value appears according to place is accumulated and becomes will be determined inside each interval, discharge the graph that rise with post, also be called histogram.

气候直方图是将所收集的降水量测定值，分为几个相等的区间作为横轴，并将各区间内所测定值依所出现的次数累积而成的面积，用柱子排起来的图形，也叫做柱状图。