a type of classical Chinese literature - 网络例句

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The influence of regional culture to Donggan literature have three facets:literary language,folk custom,effects of writer. Donggan literature under infulunce of regional culture has enlightment singnificance for study of world literature of China.As far as second part is concerned, Middle-Asia Donggan literature and Chinese Hui literature have common cultural oringin.Their development are different directions of Chinese ancient Hui literature.To analyze the common images of two nationalities,such as "moon","cattle" and"Ahong",we can see the relationship between them.We also have new opions of two nationalities\' development,if we take their literature as mutual refrence system. There are comparability between Middle-Asia Donggan literature of Chinese origin and literature of Russian emigrants in China ,though they have geographical long-distance. Chinese culture and Russian culture have influenced these two literature.They can not only display profound influence of Russian culture and Chinese culture collision,but also display various artistic forms of Russian literature and Chinese literature exchang in the 20th century.

就下编内容具体而言，中亚东干族的文学和中国回族的文学有共同的文化渊源，它们是中国古代回族文学在20世纪以来发展的两个不同向度，解读两族文学中共有的&月亮&、&牛&、&阿訇&意象，能发现两族文学间千丝万缕的联系，如果以互为参照系的方式观照两族文学，我们还会对两族文学的发展产生全新的理解；中国俄裔侨民作家群和中亚华裔东干作家群虽然地理上相隔遥远，但他们的文学存在可比性，中国俄裔侨民文学与中亚华裔东干文学都受中国文化和俄罗斯文化影响，这两个侨民作家群的文学不仅能显示中、俄文化碰撞对20世纪侨民文学的发展影响深远，也能显示20世纪的中、俄文学交流存在多种艺术形式；美国非裔黑人文学与中亚华裔东干文学虽然分属于不同的文化谱系，但存在可比性。

The influence of regional culture to Donggan literature have three facets:literary language,folk custom,effects of writer. Donggan literature under infulunce of regional culture has enlightment singnificance for study of world literature of China.As far as second part is concerned, Middle-Asia Donggan literature and Chinese Hui literature have common cultural oringin.Their development are different directions of Chinese ancient Hui literature.To analyze the common images of two nationalities,such as "moon","cattle" and"Ahong",we can see the relationship between them.We also have new opions of two nationalities\' development,if we take their literature as mutual refrence system. There are comparability between Middle-Asia Donggan literature of Chinese origin and literature of Russian emigrants in China ,though they have geographical long-distance. Chinese culture and Russian culture have influenced these two literature.They can not only display profound influence of Russian culture and Chinese culture collision,but also display various artistic forms of Russian literature and Chinese literature exchang in the 20th century.

就下编内容具体而言，中亚东干族的文学和中国回族的文学有共同的文化渊源，它们是中国古代回族文学在20世纪以来发展的两个不同向度，解读两族文学中共有的&月亮&、&牛&、&阿訇&意象，能发现两族文学间千丝万缕的联系，如果以互为参照系的方式观照两族文学，我们还会对两族文学的发展产生全新的理解；中国俄裔侨民作家群和中亚华裔东干作家群虽然地理上相隔遥远，但他们的文学存在可比性，中国俄裔侨民文学与中亚华裔东干文学都受中国文化(来源：A82BacC论文网www.abclunwen.com)和俄罗斯文化影响，这两个侨民作家群的文学不仅能显示中、俄文化碰撞对20世纪侨民文学的发展影响深远，也能显示20世纪的中、俄文学交流存在多种艺术形式；美国非裔黑人文学与中亚华裔东干文学虽然分属于不同的文化谱系，但存在可比性。

Currently the Internet dissemination speed quick, hand over with each other sex strong, and the characteristics for have great capacity, to the structure method of the tradition literature, story details, image means the esthetics enjoys etc. to produce the tremendous impact, make people not at just enjoy the single medium of literature expression means, to the literature of enjoy the way of request also more and more high, now orotund medium and and portrait medium to the work is after carrying on a stereoscopic sex packing regard the writing medium as principle of reading method even let people accept easily, and this kind of newly arisen culture- network the culture melted the meeting the main characteristic of the current public culture, at the same time have its oneself of new characteristics- the freedom of the creations, civilian, and have the ego of performance terrace, thus make some common netizen also really done the author, even is famous, got the similar treatment of master of literature, this text not only did the simple discussion to the basic concept of the literature of network, still thorough of to network literature of development did the simple outlook, this is because the network literature hases already dissolve to go into our life in the middle, if ever of traditional writer still has no accredit network literature, but ignore you how to think, the network literature have already walk to go into us living in the middle.

目前互联网传播速度快，交互性强，和容量大的特点，对传统文学的结构方式，故事情节，形象手段美学欣赏等都产生极大的冲击，使人们不在只是欣赏单媒体的文学表达手段，对文学的欣赏方式的要求也越来越高，现在声音媒体和和图象媒体对作品进行全位立体性包装后以文字媒体为主的解读方式更让人们容易接受，而这种新兴的文化--网络文化融会了当前大众文化的主要特征，同时有着其自身的新特点--创作的自由性，平民性，以及有自我的表现平台，从而使一些普通的网民也着实做了作者，甚至是出名，得到了文学大师一样的待遇，本文不仅对网络文学的基本概念做了简单的讨论，还深入的对网络文学的发展做了简单的展望，这是因为网络文学已经溶入了我们的生活当中，即使有的传统作家还没有认可网络文学，但是不管你怎么想，网络文学已经走入了我们生活当中。

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本公司自创建以来，就一直致力于产品的技术创新，不断开发新产品，秉承以客户为中心，以质量为核心的经营理念，为使公司的产品能更好的服务于社会、服务于大众，公司实行严格的生产管理制度，不断采用新技术，新材料，新工艺，并配有一整套完善的机械加工设备和检测设备制造出精良的连轴手轮，方心手轮，键槽手轮，六角手轮，球阀手柄，蝶阀手柄，阀门伞齿轮，蜗轮箱，正四方SL101-F型，锥四方SL101-Z型，正四方SL104-F型，正四方SL105花型，锥四方SL-104-Z型，六角SL104-L型，六角SL101-L型，圆型键槽SL101型，圆型键槽SL104型，正六方SL102型，键槽SL101-J型，键槽SL102-J型，键槽SL103-J型，键槽SB101-J型，第二代新型手轮，BA系列伞齿轮，WQDX3，QDX3，QDS3-S，QDX3-G，XQDX3，QDX3-CF ，FQDX3，SQDX3系列部份回转型阀门手动装置，QDX3-C，QDX3-D系列部份回转型阀门电动装置，阀瓣盖系列，轴承压盖系列，电动型轴承压盖，圆开帽，上密封座系列，手轮护罩拼帽系列六角锁紧螺母系列本公司遵循&以质量求生存，以信誉求发展&的经营理念和诚信，服务，交流，进步，开拓。

To produce the tremendous impact, make people not at just enjoy the single medium of literature expression means, to the literature of enjoy the way of request also more and more high, now orotund medium and and portrait medium to the work is after carrying on a stereoscopic sex packing regard the writing medium as principle of reading method even let people accept easily, and this kind of newly arisen culture- network the culture melted the meeting the main characteristic of the current public culture, at the same time have its oneself of new characteristics- the freedom of the creations, civilian, and have the ego of performance terrace, thus make some common netizen also really done the author, even is famous, got the similar treatment of master of literature, this text not only did the simple discussion to the basic concept of the literature of network, still thorough of to network literature of development did the simple outlook, this is because the network literature hases already dissolve to go into our life in the middle, if ever of traditional writer still has no accredit network literature, but ignore you how to think, the network literature have already walk to go into us living in the middle.

目前互联网传播速度快，交互性强，和容量大的特点，对传统文学的结构方式，故事情节，形象手段美学欣赏等都产生极大的冲击，使人们不在只是欣赏单媒体的文学表达手段，对文学的欣赏方式的要求也越来越高，现在声音媒体和和图象媒体对作品进行全位立体性包装后以文字媒体为主的解读方式更让人们容易接受，而这种新兴的文化--网络文化融会了当前大众文化的主要特征，同时有着其自身的新特点--创作的自由性，平民性，以及有自我的表现平台，从而使一些普通的网民也着实做了作者，甚至是出名，得到了文学大师一样的待遇，本文不仅对网络文学的基本概念做了简单的讨论，还深入的对网络文学的发展做了简单的展望，这是因为网络文学已经溶入了我们的生活当中，即使有的传统作家还没有认可网络文学，但是不管你怎么想，网络文学已经走入了我们生活当中。

Classical tragicomedy is the cristal of Chinese culture, and best represents the Chinese culture spirit. But regretfully Chinese dramatists followed the Western footsteps, put most of their energy onto the classical tragedy and neglect the study of classical tragicomedy. They classified many classical tragicomedies into the category of tragedy. It brought about the confusion in the classification of Chinese classical drama.

古典悲喜剧是中国文化的结晶，最能代表中国文化精神，遗憾的是我国戏剧界往往步西方的后尘，集中精力研究古典悲剧，忽略了对古典悲喜剧的探讨；又因为对古典悲喜剧的价值认识不足，有意无意地将许多悲喜剧划入悲剧范畴，造成我国古典戏曲分类上的混乱。

His major works and commissions include: ' Three Temperaments , for Big Choir ' (1986), ' Counterpoint of Times , for woodwind septet ' (1989), ' Wild Children , for mixed Chamber Ensemble ' (1993), ' Overture , for solo Chinese bass drum and Chinese winds and percussion band ' (1994), ' Intonation , for chamber orchestra ' (1990-1994), ' Flavour of Bashu , for two violins, piano and percussion ' (1995), ' Pole , for solo Chinese Yun-luo, Chinese pai-gu and Chinese bass drum with six percussionists ' (1996),commissioned by Japan Asian Percussion Ensemble, ' Symphonic Prelude --- Bashu Capriccio' (1996), 'The Song Without Words , for solo percussion ' (1997), commissioned by the Ministry of Culture of Japan, Japanese Contemporary Music Association, and Japanese Embassy in China,'Illusions of the Symphonic Stage of Tang Dynast y , for orchestra of Tang Dynasty, percussion, voices and a big choir '(1999), commissioned by Japanese No Music Guanshiliu Green Spring Association, Chinese Music Research Center in Japan, Japanese Asian Percussion Ensemble and Japanese-Chinese Cultural Exchange Association,'The Prospect of Colored Desert , for violin, cello, sheng, pipa and percussion '(2000),commissioned by Yo-Yo Ma, Silk Road Project Inc. of the U.S., Sony Record,'Three Movements of Autumn , for small Chinese instruments ensembl e'(2000) and ' Sound Games , for 5 Chinese Percussion Instruments Players ' (2000-01), commissioned by La Cité de la Musique, Paris "2000 Chinese Classical Music Series", ' Fusion I , for Mixed Chamber Ensemble ' (2002), commissioned by Holland New Ensemble and Atlas Ensemble, ' Fusion II , Concerto for Solo Chinese Percussion and Orch.' (2002), commissioned by Japanese–Chinese Committee of Friendship and Public Music Performance, and ' Fusion III , for Irish flute, accordion, bodhran, Chinese sheng, zheng, Percussion and 13 Strings with Chamber Choir.' (2003-04), commissioned by China-Ireland Exchange Program, ' The Three Images from Washing Painting , for chamber ensemble of 17 players '(2005) commissioned by the New Juilliard Ensemble for the special concert of the Juilliard Centennial and sponsored by Asian Cultural Council and the Guggenheim Partnership and 'The Butterfly Dream', new 7 scenes Opera inspired by KUN QU' (2007) commissioned by the Contemporary Legend Theatre, Taiwan etc.

主要作品及委约包括：《三种气质，无伴奏合唱》(1986)、《时间的对位，木管七重奏》（1989）、《野娃子，混合室内乐队与童声》(1993)、《对话，男声独唱，女高音，童声合唱团，混声合唱团与混合乐队》(1993-94)、《序鼓，独奏中国大鼓、排鼓、云锣与中国民间吹打乐队》（1994）、《吟，室内交响乐》（1990-1994）、《蜀韵，两支小提琴、钢琴与打击乐》（1995）、《极，独奏中国云锣、大鼓、排鼓与六位打击乐演奏家》（1996）、《巴蜀随想，交响序曲》（1996）、《无词歌，打击乐独奏》（1997）（日本国文化厅、日本现代音乐协会、日本国驻中国领事馆等联合委约）、《梦的交响舞台，唐代乐队，打击乐，人声与合唱团》（1999）（日本能乐观世流绿泉会、日本中国音乐勉强会、日本亚洲打击乐团、日中文化交流协会等联合委约）、《舞蹈组曲，大型管弦乐队》(1999)、《漠墨图，小提琴、大提琴、笙、琵琶与打击乐》（2000）（马友友、美国丝绸之路文化发展公司、日本Sony唱片等联合委约）、《秋三阕，9位中国乐器演奏家》（2000）、《响趣，5位中国打击乐器演奏家》（2000）（法国巴黎音乐城"2000中国古典音乐系列音乐会"委约）、《融I ，混合室内乐团》（2002）（荷兰 New Ensemble， Atlas Ensemble联合委约）、《融II ，打击乐协奏曲》（2002）（日本日中友好音乐公演委员会委约）、《融III ，爱尔兰笛子、手风琴、巴朗鼓，中国笙、筝，打击乐，13件弦乐器以及室内合唱团》（2003-04）（爱尔兰国家文化委员会、爱中2004文化交流年组委会委约）、《水墨画意三则，为17位演奏家的室内乐团》（2005）（美国朱丽亚音乐学院新室内乐团委约，美国亚洲文化基金会和美国古根海姆基金支助）及《梦蝶，七场新昆剧》（2007）等。

His major works and commissions include: ' Three Temperaments , for Big Choir ' (1986), ' Counterpoint of Times , for woodwind septet ' (1989), ' Wild Children , for mixed Chamber Ensemble ' (1993), ' Overture , for solo Chinese bass drum and Chinese winds and percussion band ' (1994), ' Intonation , for chamber orchestra ' (1990-1994), ' Flavour of Bashu , for two violins, piano and percussion ' (1995), ' Pole , for solo Chinese Yun-luo, Chinese pai-gu and Chinese bass drum with six percussionists ' (1996),commissioned by Japan Asian Percussion Ensemble, ' Symphonic Prelude --- Bashu Capriccio' (1996), 'The Song Without Words , for solo percussion ' (1997), commissioned by the Ministry of Culture of Japan, Japanese Contemporary Music Association, and Japanese Embassy in China,'Illusions of the Symphonic Stage of Tang Dynast y , for orchestra of Tang Dynasty, percussion, voices and a big choir '(1999), commissioned by Japanese No Music Guanshiliu Green Spring Association, Chinese Music Research Center in Japan, Japanese Asian Percussion Ensemble and Japanese-Chinese Cultural Exchange Association,'The Prospect of Colored Desert , for violin, cello, sheng, pipa and percussion '(2000),commissioned by Yo-Yo Ma, Silk Road Project Inc. of the U.S., Sony Record,'Three Movements of Autumn , for small Chinese instruments ensembl e'(2000) and ' Sound Games , for 5 Chinese Percussion Instruments Players ' (2000-01), commissioned by La Cité de la Musique, Paris "2000 Chinese Classical Music Series", ' Fusion I , for Mixed Chamber Ensemble ' (2002), commissioned by Holland New Ensemble and Atlas Ensemble, ' Fusion II , Concerto for Solo Chinese Percussion and Orch.' (2002), commissioned by Japanese–Chinese Committee of Friendship and Public Music Performance, and ' Fusion III , for Irish flute, accordion, bodhran, Chinese sheng, zheng, Percussion and 13 Strings with Chamber Choir.' (2003-04), commissioned by China-Ireland Exchange Program, ' The Three Images from Washing Painting , for chamber ensemble of 17 players '(2005) commissioned by the New Juilliard Ensemble for the special concert of the Juilliard Centennial and sponsored by Asian Cultural Council and the Guggenheim Partnership and 'The Butterfly Dream', new 7 scenes Opera inspired by KUN QU' (2007) commissioned by the Contemporary Legend Theatre, Taiwan etc.

主要作品及委约包括：《三种气质，无伴奏合唱》(1986)、《时间的对位，木管七重奏》（1989）、《野娃子，混合室内乐队与童声》(1993)、《对话，男声独唱，女高音，童声合唱团，混声合唱团与混合乐队》(1993-94)、《序鼓，独奏中国大鼓、排鼓、云锣与中国民间吹打乐队》（1994）、《吟，室内交响乐》（1990-1994）、《蜀韵，两支小提琴、钢琴与打击乐》（1995）、《极，独奏中国云锣、大鼓、排鼓与六位打击乐演奏家》（1996）、《巴蜀随想，交响序曲》（1996）、《无词歌，打击乐独奏》（1997）（日本国文化厅、日本现代音乐协会、日本国驻中国领事馆等联合委约）、《梦的交响舞台，唐代乐队，打击乐，人声与合唱团》（1999）（日本能乐观世流绿泉会、日本中国音乐勉强会、日本亚洲打击乐团、日中文化交流协会等联合委约）、《舞蹈组曲，大型管弦乐队》(1999)、《漠墨图，小提琴、大提琴、笙、琵琶与打击乐》（2000）（马友友、美国丝绸之路文化发展公司、日本Sony唱片等联合委约）、《秋三阕，9位中国乐器演奏家》（2000）、《响趣，5位中国打击乐器演奏家》（2000）（法国巴黎音乐城&2000中国古典音乐系列音乐会&委约）、《融I ，混合室内乐团》（2002）（荷兰 New Ensemble， Atlas Ensemble联合委约）、《融II ，打击乐协奏曲》（2002）（日本日中友好音乐公演委员会委约）、《融III ，爱尔兰笛子、手风琴、巴朗鼓，中国笙、筝，打击乐，13件弦乐器以及室内合唱团》（2003-04）（爱尔兰国家文化委员会、爱中2004文化交流年组委会委约）、《水墨画意三则，为17位演奏家的室内乐团》（2005）（美国朱丽亚音乐学院新室内乐团委约，美国亚洲文化基金会和美国古根海姆基金支助）及《梦蝶，七场新昆剧》（2007）等。

Kept in accordance with the main livestock and poultry can be divided into:(1) pig farm equipment, mainly including the pigsty (sub isolated defecating type pigsty, ditches addition to manure type pigsty, some gap-type pigsty floors, full-seam floor and childbirth pigsty pigsty and other five), feeding equipment (with screw-type conveyor, reciprocating scraper type, scraper ring type, ring-chain plate and dilute feed, type and other types of pipeline transportation, as well as automatic feeding trough and a variety of feed trucks) and a drinking fountain ( There Duckbill type, cup type and nipple-type 3 type), in addition to fecal equipment with except feces forklifts, scraper-type reciprocating equipment, and water will, inter, inter dung manure equipment, etc.

按所饲养的主要畜禽可分为：（1）养猪场设备，主要包括猪栏（分隔离排粪式猪栏、明沟除粪式猪栏、部分缝隙地板式猪栏、全缝地板猪栏和分娩猪栏等五类）、喂饲设备（有螺旋输送式、往复刮板式、环形刮板式、环形链板式和稀饲料管道输送式等类型，还有自动饲槽和各种饲料车）、自动饮水器（有鸭嘴式、杯式和乳头式3个类型）、除粪设备（有除粪铲车、往复刮板式除粪设备和水冲除粪设备等）；（2）养牛场设备，主要有拴系、饲喂、饮水、除粪、挤奶、牛奶冷却、牛奶输送等设备；（3）养羊设备，主要是草场围栏、羊圈及剪毛机；（4）养鸡场设备，包括鸡笼、喂饲设备、饮水设备、除粪设备、孵化和育雏设备、集蛋装置和鸡粪热干燥设备等；（5）养鸭场设备，主要是自动填鸭器。

查询词典 a type of classical Chinese literature