殖民

This essay,through a close reading of New Woman's treatment of time,and by showing how different cinematic devices of framing work to contain,regulate and organize competing temporalities,elucidates the colonial modernity in 1930 s Shanghai.

电影《新女性》是体现30年代上海现代性的典型的视觉文本，重新审读影片对相互冲突的时间的融会、规范和安排，可能得到对30年代上海殖民现代性最好的阐释。

Seven is due to its covering of the popular elements of the moment,but also its emphasis on the native way of argument and the values of trivializing the colonial history,which just caters to the political aesthetic orientation of the current taiwan society.

影片《海角七号》在台湾引起极大的社会反响，不仅因为影片中涵盖了当下诸多流行元素，更由于片中呈现出的强调本土的论述方式以及柔化殖民历史的价值观，恰好迎合了当代台湾社会的政治审美取向，这种现象背后存在着复杂的社会历史原因。

China's rulers aren't like the British masters of colonial India, and the Dalai Lama's Gandhiesque nonviolent struggle won't give them twinges of conscience, leading to Tibet's freedom.

不是像殖民印度的主人英国，对于中国的统治者来说，dl喇嘛那甘地式的非暴力的斗争，将不会使他们良心的受到剧痛而导致西藏的自由。

But, the combination of the pragmatism and the post-colony world is eating the conscience of the art. The narrow twisted and unbalanced folk culture definitely gives birth of a strange baby of the culture; it uglifies the modern art that represents the voice of the modern time. Neither does it brings the Chinese good wishes to a bright future, nor does it lead the Chinese modern art to a brilliant future, yet, it does pushes the clean world into an endless dark world.

然而，艺术领域的实用主义与后殖民的结合，蚕食着了艺术的良知；江湖文化的狭窄、扭曲和失衡，必然催生一种文化的怪胎，因而使得作为时代心声的当代艺术丑陋不堪、问题多多，它既没有把中国人的美好意愿引向光明，也不可能使中国的当代艺术走向辉煌，而是，将一个至纯之地推向一个遥遥无期的晦暗之境。

But, the combination of the pragmatism and the post-colony world is eating the conscience of the art. The narrow twisted and unbalanced folk culture definitely gives birth of a strange baby of the culture; it uglifies the modern art that represents the voice of the modern time. Neither does it brings the Chinese good wishes to a bright future, nor does it lead the Chinese modern art to a brilliant future, yet, it does pushes the clean world into an endless dark world.

然而，艺术领域的实用主义与后殖民文化的结合，蚕食着了艺术的良知；江湖文化的狭窄、扭曲和失衡，必然催生一种文化的怪胎，因而使得作为时代心声的当代艺术丑陋不堪、问题多多，它既没有把中国人的美好意愿引向光明，也不可能使中国的当代艺术走向辉煌，而是，将一个至纯之地推向一个遥遥无期的晦暗之境。

First, to incorporate a villification of the "West" as a historical enslaver of "Africa" into the argument is inappropriate. The colonial policies of the 19th century, undergirded by a racist and eugenicist Zeitgeist, have little to do with the reality of today.

首先，将&西方&作为恶意的&非洲&努役者不太合适。19世纪的殖民政策受到了当时的种族主义及优生主义的时代思潮的影响，因而与今天的现实少有关系。

The statues of colonial figures and foreign worthies which had dotted the riverside were also removed.

雕像的殖民数字和外国worthies其中点缀河边亦被拆除。

Many of the early settlers in Australia received grants of land from the Government.

许多早期殖民于澳大利亚的人，都得了政府授予的土地。

But if we look specifically into the situation of the post-war Britain and India,the British demand of national benefit,the attitude of the Attlee government towards the Indian issue,and the opportunity of settling the Indian issue on the basis of unity,we will find out that the Atlee government did not have the motive to divide India.

在对印巴分治的背景、过程进行了详细考察之后，笔者认为，英国政府早期的&分而治之&殖民统治政策虽然对印度教徒和穆斯林两大教派关系的发展产生了很不利的影响，成为导致教派冲突加剧的一个重要因素，但是，它并不是导致印度分裂的最直接原因。

These four constitute a half immanent and half transcendent quaternity, an archetype which I have called the marriage quaternio.7 The marriage quaternio provides a schema not only for the self but also for the structure of primitive society with its cross-cousin marriage, marriage classes, and division of settlements into quarters.

这四者组成了半主观半超验的四位一体，这是一个我叫做四元婚姻的原型。这四元婚姻不仅仅为人自己也为原始社会的结构提供了一副图景，后者有着姑表婚姻，婚姻阶级，并将殖民社区分成四分。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。