民族主义

There are two basic trends in the cultural nationalism under the globalization, i.e. the cultural nationalism that we advocate, and the cultural tribalism and the cultural isolationism that we oppose.

认为在全球化进程中文化民族主义的发展有两种基本趋向，即我们所倡导的文化民族主义以及我们所反对的"文化部落主义"、"文化孤立主义"倾向。

The overall comparison of males and females indicated that Chinese males (N=913) scored higher than Chinese females (N=965) on the following personality scales: Novelty, Diversity, Divergent Thinking, Leadership, Logical Orientation, Enterprise, and Internal Locus of Control; and Chinese females scored higher on Emotionality, Inferiority, Face, Veraciousness, Social Sensitivity, and Harmony.

检视台湾相关的实证研究文献，国家认同和族群认同却基本上是分开处理的，这可能冒著概念窄化的风险；即使有些文献是将二者合并处理，却囿於研究方法的限制，将「台湾民族主义」和「中国民族主义」视为两个相互矛盾、完全不相容的概念，这又可能忽略了这两种论述之间可能存在著基於共同发展历史背景所铺陈的细微相通之处。

Bunya Koh and Akira Ifukube were among the most important Asian composers. At the beginning of their artistic career, they inspired each other, and learned from each other. Though they both studied in Japan, and dealt with nationalistic source material in a modern way, they were different in their pursuits of Nationalism and in their styles. Their efforts had gradually become part of the cultural tradition of the nation. Akira Ifukube's Nationalism started from the nationwide level, adapting the ancient Ainu hymn originated in his hometown, Hokkaido, Japan. After underwent the contemporary dynamism, he ended up in Japanese classical music, singing for Asian music.

江文也、伊部昭是亚洲重要的作曲家，二人在创作之初互相观摩、激，虽然在日本学习的环境相似，而且以较现代技法及民族素材创作，但「民族主义」的层面及民族性风格在追求方向是有同的，这些追求逐渐成为他们的文化记忆与文化传统的一部份；伊部昭「民族主义」风格转变，由「日本层面」推演至海道爱奴人「古歌咏的旋」风格，再由「现代主义」尝试之后，进而转向日本雅文化、歌咏亚洲的音。

The Pan-Aryanist ideology would be virtually non-existent among white supremacists in places like Britain and Northern Europe as many of them follow Nordicism.

而泛亚利安民族主义这意识形态是完全不会存在於如英国和北欧诸如地方上的白人优越主义者之中﹐因为他们很多都追随著北欧民族主义。

Those who follow the ideology of Nordicism and Germanicism only consider Northern European people who are Nordic or Germanic to be white, shunning Southern and Eastern Europe along with anyone whose ethnic heritage is not European.

那些跟随北欧民族主义和德意志民族主义意识的人只会认为那些北欧人或日耳曼民族的北方欧洲人是为白种人，而闭避南欧人，东欧人，和任何不是欧洲传民族裔的人。

Part 3 the nationalist Lu Xun on culture In YiTeng huwan's argumentation, Lu Xun is a contradiction body: nationality and individual, the quintessence of Chinese culture and occidentalization, oracle and people.

民族与个人伊藤认为，鲁迅的民族主义是具有双重契机的：一方面是&文化上的自立的要求&；另一方面，这种文化上的民族主义，又是以&个&的自立、国民的&人各有己&，即国民主体性的确立为前提的。

The biggest tensions in the papers on nationalism divide primordialism from construetivism.

在研究民族主义时，最大的争论便是民族主义到底由何而生。

Moreover, if the people of eastern Europe felt they had been cut adrift by western Europe, they could fall for populists or nationalists of a kind who have come to power far too often in Europe's history.

此外，如果东欧感觉到他们被西欧割裂，他们很可能倒向民粹主义或民族主义。而民族主义上台掌权在欧洲历史上发生地实在是太频繁了。

To safeguard equality among ethnic groups and enhance their unity, the Constitution contains provisions on the need to combat big-ethnic group chauvinism, mainly Han chauvinism, and local ethnic chauvinism.

为保障民族平等，加强民族团结，中国宪法规定：要反对大民族主义，主要是大汉族主义，也要反对地方民族主义。

The thesis probes into Schoenberg' thinkings about music history, music nationalism, music education, music criticism, and music creation, respectively. There are some important viewpoints in Schoenberg's music thought: Firstly, Schoenberg's ideas of music history, he believes relationship of tradition and revolution in art is dialectical in nature, and argues that evolution in music was determined by natural law, obviously influenced by Hegel's philosophical history idea. Secondly, the thesis sums up his viewpoints of music nationalism, such as "lay stress on art music, look down on folk music","lay stress on western European music, look down on non- western European music" by Schoenberg's account about the reasons of the formation of national art, the dominant of national art and nationality in music; in fact, this viewpoint of western cultural centricity is one of his i mportant viewpoints throughout his life; Thirdly, Schoenberg's concept of music education: in his thought a composing teacher should teach the students how to master "the tool of art", train them for their ability of "one major and various kinds of techniques", try his best to nourish the student's personality; Fourthly, Schoenberg set forth some opinions about modern music critics and the method of music criticism: a music critic must be equipped with the quality of a music expert, and render composer's idea to the public by his art imagination, but not his personal opinion,and Schoenberg stress the areas of music criticism on style and idea ; Lastly, Schoenberg's concept of music creation: Expressionism and organism are two important issues in Schoenberg's thinking about music creation.

本文通过对勋伯格各类论文、书信、演讲、专著等文稿的评述，分别探讨了作为音乐思想家的勋柏格的音乐历史观、民族主义音乐观、音乐教育观、音乐批评观与音乐刨作观，并在此基础上总结了折射在勋柏格音乐思想中的几个重要观点：一，勋柏格对于音乐历史的认识：通过德奥音乐界前辈给予他的创作启示，以及勋伯格对自己几个创作阶段的发展历程的总结，阐述了他对于艺术中的传统与革新之间的关系的辩证认识，并通过这些问题总结出音乐的演进与黑格尔倡导的&历史发展必然性&哲学观念之间存在着必然联系；二，勋柏格的民族主义音乐观：通过勋柏格对于形成民族艺术特征的根本原因、民族艺术中的支配现象、民间音乐与艺术音乐之间的比较、音乐刨作中的&民族性&问题的意识等方面问题的剖析与认识，总结了他的&重艺术音乐，轻民间音乐&、&重西欧音乐，轻非西欧音乐&的观点，从而突出了他的精神领域中的根深蒂固的&德奥音乐中心论&，这是一个浸润着浓厚的西欧文化中心论色彩的观点，也是贯串他毕生的音乐思想的重要观点之一；三，勋柏格对音乐教育问题的见解：勋柏格认为作曲教师应该教会学生掌握&艺术的工具&、在教学中努力做到&一专多能&、注重个性培养；四，勋柏格对当代音乐批评家与音乐批评方法提出的要求：音乐批评家必须具备作为一名音乐家的专业修养，要以真实、客观的态度对待音乐批评这门神圣的职业，充分运用内心的艺术联想向公众再现作曲家的意图，而不是将个人见解强加于受众；同时，批评家需要对艺术的过去与未来拥有全面的了解与较准确的预测，在音乐批评的具体范畴中，应将重心角度置于探讨音乐作品的风格与思想之间的关系方面。

Lugalbanda was a god and shepherd king of Uruk where he was worshipped for over a thousand years.

Lugalbanda 是神和被崇拜了一千年多 Uruk古埃及喜克索王朝国王。

I am coming just now,' and went on perfuming himself with Hunut, then he came and sat.

我来只是现在，'歼灭战perfuming自己与胡努特，那麼，他来到和SAT 。