殖民的

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。

However, the same symbol of school architecture is used for a different purpose in Taiwan: Torii is the image regarded as the entrance to the sacred space. Placing Torii around schools became a metaphor showing that "schools" are as sacred as "temples." In fact, during the occupation of Chin Dynasty, schools in Taiwan are derived from "temples." Going to school in temples had been a stereotype deep in people's mind. Although this symbol was similar to the way how European school buildings symbolized campanili of churches, the symbol of "colonizing" was emphasized.

但是，类似的学校建筑元素被放在台湾却有著不同意义：把代表神圣空间入口意象的「鸟居」，放在校园的外围旁，这同时也隐喻著「学校」也等同於「寺院」的神圣地位；事实上，在清朝据台时期，学校英文音译的发展就是从「寺庙」里产出：去寺庙就学的既定印象已深植民心，这种作法虽然略同於欧洲学校原型的教堂的钟塔宗教性象徵，但背后的「殖民」象徵却很清楚的被突显出来。

Employed in particular strands of postcolonial critical discourse and developed specifically from the work of Homi Bhabha,ambivalence in this context signifies the condition produced through the discourse of mimicry, whereby in the process of imposing on the colonial subject the desire to render that subject the same as the coloniser (for example, through the coloniser's language),there is produced,says Bhabha,a defference,slippage or excess.

这个词最早被殖民后期批评文学的某些流派使用，尤其是从Homi Bhabha的作品中发展而来的。在当时的语境中这个词意指模仿殖民者的方式，这是殖民者强加在被殖民者身上的，让他们有模仿殖民者的愿望。最终的结果，Bhabha认为，就是导致顺从，比预期少或是过多。

In such a specific urban society under colonial rule. Based on two tabloids "Fong Yueh" and "369 tabloid" published at that time and Geishas with whom colonizers and interllectuals have both contacted. In this thesis, we try to analyze how power holders reproduce and form new literature field and social status which were favorable for themselves by utilizing the cultural capital possessed by these power holders through the strategy of the consumption of desire toward Geishas.

是故本论文在这样一个殖民统治的特定都市社会空间里，以当时所发行的《三六九小报》以及《风月》两小报为文本基础，并藉由和当时的殖民者与知识份子（不论是传统或新式知识份子）都有所接触的艺旦作为观察切入点，尝试分析权力者如何以其所拥有的文化资本，经由对艺旦的情欲消费策略，进行再生产与塑造对自身有利之文学场域与社会地位的过程。

These two images of China belong to the type of utopia. Introduction analyzes that tendency of research on the occidental image of China is from literaturestudy to culture study. The resources of this dissertation are the works of three British and AmericanWriters, Dickinson"s Letters from John Chinaman and Ku Hong Ming"s The Spirit of the Chinese People.The method of research is combination of image theory and postcolonial theory.

导论概述了西方中国形象的研究趋势是从文学研究转向文化研究，中国形象在西方的演变，本文所采用材料来源是三位英美来华人士的作品、狄金逊的《约翰中国佬来信》和辜鸿铭的《中国人的精神》，研究方法是形象学与后殖民理论的综合。

In economy, the Old Empire rigidly controlled overseas trade of the colonies, and passed the Navigation Act. This system had been reasonable, but it could not be accommodated to the problem after the Seven Years War. The contradiction between America and Great Britain led to the collapse of the Old Empire.

旧帝国的特征体现在经济方面则是英国对殖民地的对外贸易进行严格限制，英国通过《航海条例》控制了殖民地的生产和贸易，这个体制曾经具有其时代合理性，但是&七年战争&之后，英帝国的形势发生了很大的变化，重商主义殖民政策已经无法解决帝国所面临的难题，英国同美洲殖民地的矛盾越来越大，最终导致了旧帝国的崩溃。

The feudal system had existed in Pre - British Malaya for several centuries, although, in theory, the base of the feudal system is also a kind of state- owned land system, actually the whole peniasula had been dominated by kinds of separate sultans, rajas and other lords in the whole historical process except the short - lived Malaka period.

在英阁殖民统治以前的好几个世纪的封建时代，虽然马来半岛的封建制度也是建立在上地王有制的基础之上的，但除了马六甲王国时期出现过一个短暂的统一局面以外，马来半岛一直处于一种封建割据的局面。

Except that every period had individual expressions in its corresponding social subjects,reforms in contemporary sculpture were around how language acquires self-formation in line with Chinese contemporary spirits.

除了在每一个时期具有对应的社会主题的个人表达之外，当代雕塑的变革一直是围绕著语言如何获得与中国现代精神一体性的自我形式，当代全球主义的后殖民文化的语言策略的背景下：另一个重要实践则是如何转换中国传统语言和文化象征的现代特征，由于中国传统雕塑的民间性，这一实践实际上是以一个更大的文化符号和象征传统作为改造背景。

The large scale nautical activities not only inceased human knowledge of astronomy, geography ,biology and other areas,but also leaded a series of new discoveries on geography ,as a result there were a large scale slave selling and colonial loot,which ...

大规模的航海活动，不只丰富了人类许多学科的知识，而且一系列地理上的新发现，以及奴隶贩卖和殖民掠夺，为资本主义发展初期原始资本的积累和海外市场的开辟创造了条件，从而促使封建制度的崩溃和资本主义的发展。

The large scale nautical activities not only inceased human knowledge of astronomy, geography,biology and other areas,but also leaded a series of new discoveries on geography,as a result there were a large scale slave selling and colonial loot,which create...

大规模的航海活动，不只丰富了人类许多学科的知识，而且一系列地理上的新发现，以及奴隶贩卖和殖民掠夺，为资本主义发展初期原始资本的积累和海外市场的开辟创造了条件，从而促使封建制度的崩溃和资本主义的发展。

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。