新观念

The behavior of untying brassiere in face of Buddhist is undoubtedly accepted from the traditional perception.

自从出现了宗教以来，对于人的情欲、世界观和衣吃住行的观念影响甚大，新的观念就能产生新的精神内涵，在佛祖面前脱胸罩，这种行为在传统思想来说是对佛祖的莫大不敬。

The nation state of early modern Europe, however, did not rise out of the divergence of the burgher class and the feudal power.

市民阶级政治思想家从基本的人类理性出发，抽象并论证出独立的、个体人的自然本性和基本权利，进而引申出新时代的国家权力观念、民族共同体观念、民主与共和观念和契约权利观念等人类社会共同体生活的一般理性准则，从而不仅为近代民族国家的确立和发展创设了有利的社会舆论氛围和新价值导向，同时还在理论上规定了近代民族国家的政治思想框架。

While the new course reform advances , often there are some deviations between new education idea and classroom instruction behavior: Classroom teachers and students " ask interdynamically --Answer " take , group cooperative formalization , probe into study is it take to suffused with ," pairs of base " goal desalinize and teaching means the person of greater importance is relegated to the background ,etc..

新一轮基础教育课程改革，是一个系统工程，是一场培养模式的变革，是一次素质教育观念的重要实践。随着新课改的逐步推进，我们欣喜地看到，教师的教学观念正在逐步更新，学生的学习方式正在得到改变，课堂充满学生成长的气息。但不可否认的是，在热热闹闹和轰轰烈烈的课改背后，透露出更多的是浮躁、盲从和形式化倾向。

The late empire was impelled to begin a series of alteration. Meanwhile, as the influences of western ideology, the traditional education system was getting criticism. The society needed all kinds of talents, therefore, the industrial education was conducted to improve the occasion. The intellectuals relied on the developing of industrial education to save empire, not only for the heavy industry but also the light one, thus the economics of the country could be improved.

十九世纪中叶后，中国在内外交侵的情况下，社会经济文化等各方面也开始了一连串的变动，新的观念不断冲击著传统中国，旧有的教育制度受到抨击，新的人才观念因应而起，实业教育也在一连串的改革变动中被带进中国来。

From May 4th Movement of 1919 to the 1920s, sex love narrations in Chinese novels were rather an enlightenment and liberation in that particular era with four characteristics. Firstly, sexual desire was endowed with rationality with regard to liberation of human nature and mutual love. Secondly, with an epochal concern for a stronger and superior race, greater attention was paid to sexual parties concerned, mainly physically. Thirdly, new ethics on sex were promoted in that personal freedom on sex love was emphasized and sex love became an important way of self-fulfillment. Therefore, independence of sex love was advocated and the scope of sex love was also widened. Fourthly, the sex consciousness of this period had the mixed features of the past and the contemporary. Sex love narrations in the 1930s and 1940s showed a further exploration on the theme of human nature. First of all, sex was restored to a kind of desire. ShenCongwen probed the importance of harmonious sex love to a sound personality and Shi Zhecunrevealed that sexual inhibition could lead to the distortion, even frenzy of human nature. Bothexplored the influence and functions of sexual desire as human nature upon human personality,giving prominence to the irresistibleness of sexual desire and the significance of sexual desire asa motive. Then, human bodies driven by sexual desire were described and given greater attentionto. Next, ethics on sex were deconstructed either by Shen Congwen who opposed man-madeethics with law of nature and the School of New Sensation who replaced traditional ethics on sexwith exchange rules in consumption, or by Shi Zhecun who spared no efforts in representing thecomplete failure of social rules, including ethics on sex, due to the impact from sexual desire.The direct effect was a paleness of the ethical binding force on sex. Last, sex consciousness inthe works of female writers emerged. In the early works of Ding Ling, the sexual desire of thefemale is no longer a ramification of emotion but an independent one. In addition, in the sex lovenarrations of other female writers, such as Mei Niang, strong self-consciousness on the socialstatus of the female is also reflected. Sex love narrations in the late 1970s and early 1980s wereactually a re-enlightenment in the spirit of humanism, whose major features include humanisticlegitimation of sex love within the boundary of ethics, a blend of sex love narrations withnational concepts and national myths as well as the aesthetic, poetic descriptions of humanbodies etc. In the middle and late 1980s, sex love narrations entered a stage of exploration forpluralism. First, by restoration of sexual desire, writers of this era restored human nature, thevery original state of human being. Different emphasis and tendencies could be seen in differentwriters: looking at sex love dialectically and trying to describe its creative as well as destructivecharacteristics; connecting sex love with violence and trying to reveal the evil side of humannature through it; emphasizing the creativeness of sex love especially in the heritage of"wildness".

从"五四"到20世纪20年代，中国小说的性爱叙事是一种处在时代夹缝中的启蒙和解放，其所表现出来的特点，一是正面赋予性欲望以合理性，这种合理性是在人性解放和爱情前提下获得的；二是在强种育种的时代焦虑影响下小说性爱叙事表现出对物质身体的关注，其焦点主要在体格方面；三是树立起新的性伦理道德观念，表现为强调在性爱问题上的个人选择自由，性爱成为个人自我实现的重要方式，从而赋予人在性爱问题上的独立性，同时还扩大了性爱表现的领域；四，这个时期小说性爱叙事中所表现出的性意识还具有新旧杂糅的特点。30、40年代小说性爱叙事表现出对人性主题的深化与丌拓，首先是把性还原为欲望本身来探索，沈从文从和谐性爱对健全人性的决定作用、施蛰存从性压抑会导致人性扭曲甚至疯狂的角度探讨作为人类本质性欲望的性对人性产生的影响和作用，突出了性欲力量的不可抗拒和作为人类行为的重要动力等方面的内容；其次在叙事中表现出对欲望化了的身体的描绘与关注；第三是解构了性的伦理道德，无论是沈从文以自然法则来反对人为的道德设置还是新感觉派用消费交换原则替代传统性伦理道德，或是施蛰存极力表现包括性伦理规范在内的社会法则在性欲力量冲击下溃不成军，其直接的效果都是使性伦理道德对人的约束力量显得苍白虚弱；第四，出现了由女性作家表现的女性性意识，在丁玲的早期作品中女性的性欲望不再是作为感情的衍生物而是独立的欲望存在，而在梅娘等其他女作家的小说性爱叙事中则表现出对女性社会地位的强烈自觉意识。70年代末80年代初期小说的性爱叙事实际上是在人道主义语境下的再次启蒙，其主要特征一是性爱在人道主义前提下获得合法性，但要求性爱不超出伦理规定的范围；再就是将性爱叙事同国家观念和民族神话相融合；此外还有对身体的描写审美化诗意化等。80年代中后期，小说性爱叙事进入了多元化探索的阶段，作家通过还原性欲望来还原人性、还原人类的本真状态，不同作家笔下表现为不同的侧重和倾向——以辨证的方式看待性爱，写出其具有的创造性力量和毁灭性特征；将性爱与暴力相联系并通过其来表现人性的黑暗；强调性爱的创造性作用，尤其在民族"血性"的传承方面。

The nuclear issue blazoned forth by the school of new social history of Britain is to stick to the conception of history "from bottom to up", which has indicated the tropism and disquisitive practice of the whole social history directed by this kind of conception of history.

英国新社会史思潮具有广泛和深刻的国内外史学渊源。英国新社会史学派宣扬的核心问题是坚持&自下而上&史学观念，它彰显了由此观念指导下的整体社会史取向和研究实践。

Several early 14th-century theorists referred to the idea of an Ars Antiqua, represented primarily by Franco, and an Ars Nova instituted by Philippe de Vitry(see, for instance, CoussemakerS, iii, 371,408),but in historical terms the usefulness of the idea is supported more by the treatise Ars novae musicae(c1320)of Johannes de Muris, the 1324-5bull lf Pope John XXII decrying the musicians who were 'novellae scholae discipuli' and the reference in Jacobus of Liege's Speculum musice to 'moderni cantores' and to'aliquinunc novi'.

一些十四世纪早期的理论家已经谈到以弗朗科为首要代表的古艺术的观念，新艺术是由维特利建立起来的，但从历史角度来看，这一观念的实用价值更多是由穆里斯的论文《新音乐艺术》、1324-1325年教皇若望二十二世贬斥那些&信奉新学派&的音乐家们的训令，以及列日的雅各布的《音乐明鉴》中所提到的&当代歌手&和&一些现在的认识&支撑着。

However, this overturn will be not revert to the history of rural conception which belongs to the pre-revolution, but make a new path selection in the combination of traditional land conception (including both the land conception before the revolution and the land ideas influenced by the revolution) and current needs.

只不过，这一再翻转不是要回复到革命前的乡村观念史，而是要在处理好传统土地观念--包括革命前的土地观念和革命所带来的土地观念--与现实需求的结合中做出新的路径选择。

A re-overturning in people's land conception will happen, but rather than reverting to the old, pre-evolution conception, a new path will be selected in which traditional land conception （including the pre-revolution one and the post-revolution one） and the current needs of reality will be synthesized.

只不过，这一再翻转不是要回复到革命前的乡村观念史，而是要在处理好传统土地观念——包括革命前的土地观念和革命所带来的土地观念——与现实需求的结合中做出新的路径选择。

From May 4th Movement of 1919 to the 1920s, sex love narrations in Chinese novels were rather an enlightenment and liberation in that particular era with four characteristics. Firstly, sexual desire was endowed with rationality with regard to liberation of human nature and mutual love. Secondly, with an epochal concern for a stronger and superior race, greater attention was paid to sexual parties concerned, mainly physically. Thirdly, new ethics on sex were promoted in that personal freedom on sex love was emphasized and sex love became an important way of self-fulfillment. Therefore, independence of sex love was advocated and the scope of sex love was also widened. Fourthly, the sex consciousness of this period had the mixed features of the past and the contemporary. Sex love narrations in the 1930s and 1940s showed a further exploration on the theme of human nature. First of all, sex was restored to a kind of desire. ShenCongwen probed the importance of harmonious sex love to a sound personality and Shi Zhecunrevealed that sexual inhibition could lead to the distortion, even frenzy of human nature. Bothexplored the influence and functions of sexual desire as human nature upon human personality,giving prominence to the irresistibleness of sexual desire and the significance of sexual desire asa motive. Then, human bodies driven by sexual desire were described and given greater attentionto. Next, ethics on sex were deconstructed either by Shen Congwen who opposed man-madeethics with law of nature and the School of New Sensation who replaced traditional ethics on sexwith exchange rules in consumption, or by Shi Zhecun who spared no efforts in representing thecomplete failure of social rules, including ethics on sex, due to the impact from sexual desire.The direct effect was a paleness of the ethical binding force on sex. Last, sex consciousness inthe works of female writers emerged. In the early works of Ding Ling, the sexual desire of thefemale is no longer a ramification of emotion but an independent one. In addition, in the sex lovenarrations of other female writers, such as Mei Niang, strong self-consciousness on the socialstatus of the female is also reflected. Sex love narrations in the late 1970s and early 1980s wereactually a re-enlightenment in the spirit of humanism, whose major features include humanisticlegitimation of sex love within the boundary of ethics, a blend of sex love narrations withnational concepts and national myths as well as the aesthetic, poetic descriptions of humanbodies etc. In the middle and late 1980s, sex love narrations entered a stage of exploration forpluralism. First, by restoration of sexual desire, writers of this era restored human nature, thevery original state of human being. Different emphasis and tendencies could be seen in differentwriters: looking at sex love dialectically and trying to describe its creative as well as destructivecharacteristics; connecting sex love with violence and trying to reveal the evil side of humannature through it; emphasizing the creativeness of sex love especially in the heritage of"wildness".

从&五四&到20世纪20年代，中国小说的性爱叙事是一种处在时代夹缝中的启蒙和解放，其所表现出来的特点，一是正面赋予性欲望以合理性，这种合理性是在人性解放和爱情前提下获得的；二是在强种育种的时代焦虑影响下小说性爱叙事表现出对物质身体的关注，其焦点主要在体格方面；三是树立起新的性伦理道德观念，表现为强调在性爱问题上的个人选择自由，性爱成为个人自我实现的重要方式，从而赋予人在性爱问题上的独立性，同时还扩大了性爱表现的领域；四，这个时期小说性爱叙事中所表现出的性意识还具有新旧杂糅的特点。30、40年代小说性爱叙事表现出对人性主题的深化与丌拓，首先是把性还原为欲望本身来探索，沈从文从和谐性爱对健全人性的决定作用、施蛰存从性压抑会导致人性扭曲甚至疯狂的角度探讨作为人类本质性欲望的性对人性产生的影响和作用，突出了性欲力量的不可抗拒和作为人类行为的重要动力等方面的内容；其次在叙事中表现出对欲望化了的身体的描绘与关注；第三是解构了性的伦理道德，无论是沈从文以自然法则来反对人为的道德设置还是新感觉派用消费交换原则替代传统性伦理道德，或是施蛰存极力表现包括性伦理规范在内的社会法则在性欲力量冲击下溃不成军，其直接的效果都是使性伦理道德对人的约束力量显得苍白虚弱；第四，出现了由女性作家表现的女性性意识，在丁玲的早期作品中女性的性欲望不再是作为感情的衍生物而是独立的欲望存在，而在梅娘等其他女作家的小说性爱叙事中则表现出对女性社会地位的强烈自觉意识。70年代末80年代初期小说的性爱叙事实际上是在人道主义语境下的再次启蒙，其主要特征一是性爱在人道主义前提下获得合法性，但要求性爱不超出伦理规定的范围；再就是将性爱叙事同国家观念和民族神话相融合；此外还有对身体的描写审美化诗意化等。80年代中后期，小说性爱叙事进入了多元化探索的阶段，作家通过还原性欲望来还原人性、还原人类的本真状态，不同作家笔下表现为不同的侧重和倾向——以辨证的方式看待性爱，写出其具有的创造性力量和毁灭性特征；将性爱与暴力相联系并通过其来表现人性的黑暗；强调性爱的创造性作用，尤其在民族&血性&的传承方面。

He knows that he's one of the mostdominant players in the NBA right now.

我知道他现在是联盟里最有统治力的球员之一了。

Using analysis method of BCG , the dissertation analyzed the management of voluntary service organizations .

利用BCG分析方法对我国的志愿服务组织管理进行了分析。