西方国家的

Because of the deeply national crisis in 20 century ,and the western s second expansion constrained traditional Chinese ideology to reform itself to modernization ,while the traditional art losed its bloom and livingness , it had been taken to a unreasonable reform ,which was in the huge reform storm , and the inside theory was evolution .

20世纪初中国由于国家危机深重，西方的第二次扩张迫使传统儒家意识形态下的中国进行现代化转形，处在边缘状态的传统绘画艺术早已失去了往日的光华和应有的活力，在以进化论为思想核心的变革大潮中绘画被推向了错误的改良风尖。

At the end of 19 century, Old China under the system of emperor autarchy, resulted in a weak and poor country and the national confidence had once been lost, because of a long time cultural autarchy of Manchu Nobiliary and invasion of colonial force. Then Chinese scholars turned to learn western culture and technology, and the linguistic theories delegated by The General Linguistics of Sausure were transplanted in China, which became the basic principles guiding Chinese teaching after the establishment of academic and educational system for about a hundred years.

19世纪末，君主专制体制下的旧中国因为长期的君主专制和满族贵族的文化专制，加上当时列强殖民势力的入侵，导致国家积贫积弱，民族自信心一度丧失，中国学者转而学习西方文化技术，其中以索绪尔《普通语言学》为代表的语言学理论被中国学者移植到中国，经过百年的学术和教育体制的固定，成为指导中文教学的基本原则。

From the pursuing of the"democratic island"in central Asian to the occuring of"Tulip Revolution",and from the believing inwestern democracy to centralized regime.from the blindfold imitation of exoticcivilization to relapsation into the circle of"democratic-authoritical"as the useless ofmany kinds of systems,and from too much modification in law to the uncertainingabout"presidentialism"and"parliamentarism"to cause a weak regime and so on.

由中亚"民主岛"的狂热追求到"郁金香革命"的骤然发生，由奉西方自由民主制度为圭臬到集权政体的回归，由对外来文明的盲从模仿到因制度"叠合"的无效性而陷入"民主——专制"的怪圈，由多次修宪到至今尚未厘清"总统制"与"议会制"而塑造了一个模糊不清的脆弱的政权体系，凡此等等，像吉尔吉斯斯坦这样政治转型所表现出的大起大落、摇摆不定等现象在后苏联转型国家中并不多见。

With the astonishingly rapid reemergence of China as a global power, not least of all in its cultural influence on the rest of the world, serious students of literature cannot afford to ignore the seminal Chinese poetic works which achieved their greatness well before the rise of Western traditions, and which retain their merit as poetic works of the first order.

随着中国以惊人的速度重新崛起为世界强国，它的文化对世界其他国家产生的影响绝非无足轻重，认真研究文学的学生千万不要忽视早期中国诗歌作品，因为它们在西方传统兴起之前就已臻至辉煌的境界，并且依然保存着第一流的诗歌作品的优秀品质。

These efforts to maintain the privilege of the West have grown in opposition to efforts by the underprivileged, the underrepresented, the disenfranchised, disinherited, disempowered, and formerly and currently colonized territories, countries, and peoples to enter the world cultural arena as citizens and human beings.

这些维护西方的优先性的努力成长在反对的努力中，这些努力是去特权化，去权力化，以前的和现在的知民化的领土，国家以及人民作为公民和人进入世界的文化舞台。

In fact, the Chinese Navy and the Indian Navy, the real swords and guns to knives to guns to fight a large, the occurrence of such opportunities may be more difficult to overcome even more of their own, although the land at the junction of the two countries, but at sea, the fleet between the two countries must be far around the Straits of Malacca in order to meet; Moreover, I can honestly say that the history of China and India is not belligerent or aggressive habits of the country, then they are strongly influenced by western colonial gunboats of bullying, but it had no predatory sea resources and wealth of others from the history of fat, so, it is apparent that Chinese and Indian Navy at sea to fight a real, and the war or the use of teams to the size of nuclear submarines and aircraft carriers, it seems a fairy tale.

其实，中国海军和印度海军，真要刀对刀枪对枪地大打一场，这样的发生机遇可能比战胜之本身的难度更大，虽然两国陆上交界，但在海上，两国的舰队必须远绕马六甲海峡才能相遇；而且，说实话，中印两国历史上都不是有好战或侵略习性的国家，当年它们都深受西方殖民主义坚船利炮的欺负，但也都无出海掠夺他人资源和财富自肥的历史，所以，表面看来，中印两国海军在海上真正打一场，并将战争升组到到动用核潜艇和航空母舰的规模，似乎天方夜谭。

His reputation, though fading, as a peaceable Pushtun, a national unifier and, above all, as the likeliest guarantor of the foreigners' shining promise to Afghanistan may best explain this.

解释这一切的理由就是卡尔扎伊作为一个平和的普什图人，一个国家团结者的名誉。以及最重要的作为西方对阿富汗所作出的光鲜承诺的保证者的名誉，即便这些名誉正在暗淡下去。

Kyrgyzstan\'s political transformation is theresult of series complex factors,As the interactional relationship of politics andecnomics,economical factors is the basic factors,traditional political cultural,whichresults in the negative factors of the countury\'s democratical politicaltransformation,is the main factor of non-institutionalism of political transforming.national relationship and religional extremelist are another importantfactors,which have an impact on steady environment and building of nationalcountries;Kyrgyzstan\'s political transformation,which drops into the dilemma ofblind imitation,is influenced by external powersIt\'s concluded six points by summarizing the efforts of Kyrgyzstan\'sdemocratical political transformation.at the same time,bringing forward my ownopinions about our country towards the academic development of western politics andthe experience of Kyrgyzstan\'s political transformation.

吉尔吉斯斯坦政治转型是一系列内外综合因素互为作用的结果。就政治与经济的互动关系而言，经济因素无疑是影响吉政治转型的基本动因；传统政治文化是导致吉民主化政治转型中出现恶质因素，政治运作非制度化的重要动因；民族关系和宗教极端势力是影响吉政治转型所需和谐稳定环境以及民族国家建构的另一重要因素；吉政治转型陷入盲从模仿及摇摆不定的困境在很大程度上与外部势力的影响不无关系。结语通过吉尔吉斯斯坦民主化政治转型绩效的总结分析得出了本文研究的六点结论；同时就西方政治发展理论与吉尔吉斯斯坦政治转型实践的悖论给予中国的启示提出了自己的看法。

In an article first published in Foreign Affairs in 1993 and then expanded into a book, Huntington foresaw the shape of the post Cold War world. The war of ideologies would yield to a civilizational struggle of soil and blood. It would be the West versus the eight civilizations dividing the rest—Latin American, African, Islamic, Sinic, Hindu, Orthodox, Buddhist, and Japanese.

最初发表在1993年&外交事务&杂志上的一篇文章就是《文明的冲突》的雏形，而在那篇文章中亨廷顿已经预见到了后冷战时代的世界格局，意识形态的战争将导致一场&鲜血与祖国&（blood and soil，曾经的纳粹口号）的文明冲突，那将是西方世界与余下的其他8个文明的对抗----拉丁美洲、非洲、伊斯兰国家、中华、印度、东正教、佛教和日本。

An essentialized and remarkably delimited Indian theatre consisting of just one genre, namely, the ancient Sanskrit theatre, with no space for the Ram Lila or other flourishing vernacular genres;(2) Histories from the nationalist period portray Indian theatre as primarily, though not exclusively, madeup of India's Western-influenced "modern" theatre genre but relegate the Ram Lila to the realm of unsophisticated folk theatre; and (3) Postcolonial-era histories offer a broad-based and plural Indian theatre encompassing all major genres, including the Ram Lila, but valorize postcolonial theatre withuntenable and extravagant claims.

我会在结论论证这些研究的源起，并列举三个现代印度文化和历史的不同阶段作为例证：（1）东方主义时期的印度剧场史，呈现出一个本质主义、明显画地自限的印度剧场，当中只有一个剧种：古老的梵文剧场，毫无肚量容纳罗魔节戏或其他盛极一时的地方戏剧；（2）国家主义时期的剧场史，此时最主要由深受西方文化影响的印度「现代」剧场构成，罗魔节戏被贬抑为难登大雅的地方小戏；（3）后殖民时期的剧场史，提供了一个宽广、多元，兼容并蓄的印度剧场，罗魔节戏也在其中，但此时期过於夸大了后殖民剧场的资产。

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。