Chapter 3 (II)Aesthetic appreciation of traditional Chinese architecture

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艺术美学课程简介(中英文)

艺术美学课程简介Introduction to the Course of Art Aesthetics 艺术美学课程是哈尔滨工业大学人文学院广播电视编导和广告学专业本科生必修课。

共45学时。

Art Aesthetics is a compulsory course for the undergraduate of Broadcasting & TV Directing and Advertising in School of Humanity and Social Science in Harbin Institute of Technology. 45 class hours needed.本课的内容主要由五个部分组成。

绪论。

讲授艺术美学的概念、性质和研究对象；艺术美学学科成立的大致过程。

第一章，艺术的本质。

讲授艺术本质的复杂性；艺术的社会本质、认识本质和审美本质。

第二章，艺术的审美形态。

讲授西方美学史上崇高与优美、悲剧与喜剧、丑与荒诞等审美形态及其的本质、形态和审美特征；中国艺术史上的中和、气韵、意境等审美形态的内涵、形态及审美特征。

第三章，艺术的存在形态。

讲授艺术的存在方式；艺术品的层次结构；艺术作品的形态；艺术形态的划分标准以及各类艺术的审美特征。

第四章，艺术的创造与接受。

讲授艺术家的素质；艺术创作过程；艺术的鉴赏与批评。

This course is consisted of five parts. Introduction: the concepts, characters and research object; the processes of setting up Art Aesthetics discipline. Chapter 1, Essence of Art: introducing complexity of the essence of art, containing the social nature, the cognitive nature and the aesthetic nature. Chapter 2, Aesthetic Forms of Art: introducing the aesthetic forms in Western Aesthetics History, such as loftiness & grace, tragedy & comedy, ugliness & absurdity, etc., and their connotation, forms and characteristics; introducing the aesthetic forms in Chinese Art History, such as neutralization, Qiyun(spirit), artistic conception, etc., and their connotation, forms and characteristics. Chapter 3,Existing Forms of Art: introducing the art’s existing modes, hierarchy structure of artwork, forms of art production, classifications of art form, and aesthetic characteristics of various arts. Chapter 4, Creation and Acceptance of Art: introducing the quality of artists, the course of art creation, and art appreciation and criticism.本课的特点是，采用多媒体教学，教学过程中以案例分析为基础，在艺术的审美实践活动中，由感性认识上升到理性认识，通过教学，使学生掌握艺术美学的基本原理和艺术创造及艺术批评的规律，培养审美能力，提高艺术修养。

中国文物保护法英语版

中国文物保护法英语版Law of the People's Republic of China on the Protection of Cultural Relics(Adopted at the 20th Meeting of the Standing Committee of the Fifth National People's Congress on 29 August 1982, amended according to the Decision of the Standing Committee of the Ninth National People's Congress on Amending the Law of the People's Republic of China on the Protection of Cultural Relics on 29 August 2002)Chapter I General ProvisionsArticle 1 This Law is formulated for the purpose of protecting cultural relics and promoting their proper use.Article 2 Cultural relics mentioned in this Law refer to the precious historical, artistic, scientific and technological achievements and relics of the Chinese nation, including sites, architecture, monuments, paintings, calligraphy, sculpture, handicrafts, unearthed cultural relics, books, archives, ancient coins and other relics and materials.Article 3 The State takes a unified leadership in the protection and administration of cultural relics throughout the country.The people's governments at various levels and relevant departments shall, in accordance with this Law, be responsible for the protection and administration of cultural relics in their administrative areas and within their respective scopes of responsibilities.Article 4 The protection of cultural relics shall follow the principle of overall planning, rational utilization, strict control and comprehensive administration.Article 5 The State protects cultural relics from damage or destruction caused by construction activities and other activities harmful to cultural relics.Chapter II Protection of Cultural RelicsArticle 6 The State protects cultural relics and prohibits the following acts:(1) Damaging, destroying, stealing, or illegally disposing of cultural relics;(2) Illegally excavating, buying or selling, transporting, mailing, orcarrying across the border cultural relics;(3) Illegally carrying out repairs, alterations, or moving cultural relics without authorization;(4) Failing to carry out repairs, maintenance, and protection of cultural relics in accordance with relevant provisions or causing damage to cultural relics due to improper protection;(5) Engaging in other activities harmful to cultural relics.Article 7 The State encourages and supports the appropriate use of cultural relics and prohibits the following acts:(1) Using cultural relics for illegal purposes such as fraudulent activities, gambling, and improper entertainment;(2) Using cultural relics for commercial purposes without authorization;(3) Engaging in other acts that damage the aesthetic or cultural value of cultural relics.Article 8 The protection of cultural relics requires the participation and supervision of the masses. Any individual or organization that discovers a new cultural relic or a cultural relic that has been lost or damaged or suspected of being lost or damaged, shall promptly report it to the cultural relic protection department.Article 9 The State implements a system for the identification and registration of cultural relics.Cultural relics that are identified as having significant historical, artistic, scientific, or technological value shall be designated as first-class cultural relics by the State.Article 10 Any individual or organization that discovers and excavates a cultural relic shall report it to the cultural relic protection department and may not carry out excavation without authorization.Article 11 The State implements a system for the protection of underwater cultural relics.Chapter III Administration of Cultural RelicsArticle 12 The State Council and relevant departments shall, in accordance with their respective scopes of responsibilities, formulate and publish national technical standards and management measures for the protection and administration of cultural relics.Article 13 The people's governments at various levels and relevant departments shall include the protection and administration of cultural relics in their overall urban planning and land use planning, and shall take measures to protect cultural relics within the scope of construction activities.Article 14 The people's governments at various levels and relevant departments shall, in accordance with the Law and relevant provisions, establish special funds for cultural relic protection and administration, and shall allocate appropriate financial resources for the protection and administration of cultural relics.Article 15 The State encourages and supports scientific research on cultural relics, the development of cultural relic protection technology, and the training of professionals in cultural relic protection.Article 16 The people's government and relevant departments shallestablish a system for the employment and management of cultural relic protection personnel.Article 17 The cultural relic protection department shall establish a database of cultural relics, establish a system for the regular inspection and maintenance of cultural relics, and strengthen the management of cultural relics in storage.Article 18 The cultural relic protection department shall establish a system for rewards and punishments for the protection and administration of cultural relics.Chapter IV Legal LiabilitiesArticle 19 Whoever violates the provisions of Article 6 of this Law shall be ordered by the cultural relic protection department to take corrective measures within a specified period and may be subject to a fine of not less than five thousand yuan but not more than ten times the value of the cultural relic or the illegal income obtained, and may be ordered to return the cultural relic. If the circumstance is serious, the cultural relic protection department may confiscate the cultural relic and impose a fine of more than ten times the value of the cultural relic or the illegalincome obtained. If a crime is constituted, criminal responsibility shall be investigated according to law.Article 20 Whoever violates the provisions of Article 7 of this Law shall be ordered by the cultural relic protection department to take corrective measures within a specified period, and may be subject to a fine of not less than five thousand yuan and not more than fifty thousand yuan. If the circumstance is serious, the cultural relic protection department may confiscate the cultural relic and impose a fine of more than fifty thousand yuan. If a crime is constituted, criminal responsibility shall be investigated according to law.Article 21 Whoever violates the provisions of Article 8 of this Law shall be given a commendation by the cultural relic protection department and may be rewarded. Whoever conceals or fails to report cultural relics or engages in illegal excavation or destruction of cultural relics shall be criticized by the cultural relic protection department, and may be subject to administrative sanctions.Article 22 Whoever violates the provisions of Article 10 of this Law by illegally excavating cultural relics without authorization shall be ordered by the cultural relic protection department to immediately stop theexcavation and repair the damage, and may be subject to a fine of not less than five thousand yuan but not more than ten times the value of the cultural relic or the illegal income obtained, and may be ordered to return the cultural relic. If the circumstance is serious, the cultural relic protection department may confiscate the cultural relic and impose a fine of more than ten times the value of the cultural relic or the illegal income obtained. If a crime is constituted, criminal responsibility shall be investigated according to law.Article 23 Whoever violates the provisions of this Law but is not yet strong enough to constitute a crime shall be given an administrative penalty, and shall be ordered by the cultural relic protection department to take corrective measures, and may be subject to a fine of not less than five hundred yuan but not more than five thousand yuan.Chapter V Supplementary ProvisionsArticle 24 The cultural relics protection departments mentioned in this Law refer to the departments of the people's governments at all levels responsible for the protection and administration of cultural relics.Article 25 This Law shall come into effect on 1 January 1983.。

异种族娘风评鉴定指南全集的英语

异种族娘风评鉴定指南全集的英语全文共3篇示例，供读者参考篇1Guide to Evaluating and Appreciating Cross-ethnic Mom Fashion: A Complete CollectionIntroductionIn today's globalized world, the fusion of different cultures has become a common phenomenon. This is evident in various aspects of life, including fashion. One particular trend that has been gaining popularity in recent years is cross-ethnic mom fashion, where mothers from different ethnic backgrounds mix and match traditional clothing to create unique and stylish looks. In this comprehensive guide, we will take a closer look atcross-ethnic mom fashion and provide a set of criteria to help evaluate and appreciate the beauty and creativity of these outfits.Chapter 1: Understanding Cross-Ethnic Mom FashionCross-ethnic mom fashion is a form of cultural expression that combines elements from different ethnic traditions to create a new and distinct style. This type of fashion often involvesmixing traditional clothing like saris, kimono, or abayas with modern pieces to create eye-catching and eclectic outfits. Cross-ethnic mom fashion celebrates diversity and encourages the exploration of different cultural identities through clothing.Chapter 2: Criteria for Evaluating Cross-Ethnic Mom FashionWhen evaluating cross-ethnic mom fashion, it is important to consider a few key criteria:1. Creativity: How innovative and original is the outfit in combining different cultural elements?2. Harmony: Does the outfit strike a balance between traditional and modern pieces?3. Authenticity: Is the outfit a respectful representation of the cultures being referenced?4. Practicality: Can the outfit be worn comfortably and confidently in everyday life?5. Impact: Does the outfit make a strong and positive statement about the beauty of cultural diversity?By applying these criteria, one can better appreciate the thought and effort that goes into creating cross-ethnic mom fashion and recognize the beauty of cultural fusion.Chapter 3: Tips for Styling Cross-Ethnic Mom FashionFor those interested in trying out cross-ethnic mom fashion, here are a few tips to keep in mind:1. Start small: Begin by incorporating one or two traditional pieces into your existing wardrobe and gradually experiment with more elaborate combinations.2. Mix and match: Don't be afraid to combine pieces from different cultures, textures, and colors to create a truly unique look.3. Accessorize wisely: Choose accessories that complement the outfit without overpowering it.4. Confidence is key: Wear your cross-ethnic mom fashion with pride and confidence, knowing that you are celebrating the beauty of diversity through your clothing.Final ThoughtsCross-ethnic mom fashion is a beautiful reflection of the multicultural world we live in today. By evaluating and appreciating the creativity and diversity found in these outfits, we can celebrate the unique beauty of different cultures and traditions. So go ahead, embrace cross-ethnic mom fashion, andlet your style be a testament to the richness and complexity of the world around us.篇2Comprehensive Guide to Crossbreed Waifu Aesthetics EvaluationIntroductionIn the world of fantasy and anime, the concept of waifus has evolved to include a diverse range of characters, including those from different species or races. These crossbreed waifus, also known as "异种族娘" in Chinese and "Monster Musume" in Japanese, have gained popularity among fans for their unique and intriguing designs. This comprehensive guide aims to provide an in-depth evaluation of crossbreed waifu aesthetics, covering various aspects such as design, personality, background, and overall appeal.Chapter 1: DesignThe design of a crossbreed waifu is a crucial aspect that determines their attractiveness and appeal to fans. Factors such as physical appearance, clothing, accessories, and special features play a significant role in creating a visually appealing character. Design elements such as unique color schemes,intricate patterns, and creative combinations of human and non-human features can greatly enhance the overall aesthetic of a crossbreed waifu.Chapter 2: PersonalityIn addition to their physical appearance, the personality of a crossbreed waifu is another important aspect to consider. A well-developed personality can make a character more relatable and endearing to fans. Traits such as kindness, humor, intelligence, and bravery are commonly featured in crossbreed waifus, adding depth and complexity to their character development.Chapter 3: BackgroundThe background story of a crossbreed waifu can provide context and depth to their character, helping fans to better understand their motivations and actions. Elements such as origin, family history, personal goals, and experiences can contribute to a character's overall appeal and make them more memorable to fans. A well-crafted background can also create opportunities for storytelling and world-building within the anime or manga series.Chapter 4: AppealThe overall appeal of a crossbreed waifu is a combination of their design, personality, and background, as well as their interactions with other characters and the world around them. Factors such as relationships, conflicts, growth, and development can all contribute to a character's appeal and make them more compelling to fans. A strong and engaging crossbreed waifu can capture the hearts of viewers and leave a lasting impression on the audience.ConclusionIn conclusion, the evaluation of crossbreed waifu aesthetics is a complex and multifaceted process that involves considering various aspects such as design, personality, background, and overall appeal. By examining these elements in detail, fans can gain a deeper appreciation for the unique and diverse world of crossbreed waifus and the creativity and imagination of their creators. Whether it's a half-elf, a demon princess, or a catgirl, each crossbreed waifu has its own charm and appeal that can captivate audiences and leave a lasting impact on the world of fantasy and anime.篇3A Comprehensive Guide to Evaluating and Analyzing Crossbreed Girl StylesIntroductionWhen it comes to the world of fashion, there are endless possibilities for creativity and innovation. One trend that has been gaining popularity in recent years is the crossbreed girl style. This unique and eclectic fashion trend combines elements from different cultures and ethnicities to create a bold and distinctive look. In this guide, we will provide a comprehensive overview of the crossbreed girl style, as well as a step-by-step process for evaluating and analyzing different crossbreed girl outfits.Section 1: Understanding Crossbreed Girl StyleCrossbreed girl style is a fashion trend that combines elements from two or more different cultures or ethnicities. This can include clothing, accessories, hairstyles, makeup, and even language or customs. The goal of crossbreed girl style is to create a look that is playful, daring, and unexpected. By mixing and matching different cultural influences, crossbreed girls are able to create truly unique and eye-catching outfits.Section 2: Evaluating Crossbreed Girl OutfitsWhen evaluating a crossbreed girl outfit, there are several key factors to consider. These include:1. Cultural Elements: Take note of the specific cultural influences present in the outfit. Look for traditional clothing styles, patterns, fabrics, and accessories from different cultures.2. Color Palette: Pay attention to the color palette of the outfit. Crossbreed girl styles often feature bold and contrasting colors that create a visually striking look.3. Silhouette: Consider the overall silhouette of the outfit. Crossbreed girl styles often mix loose and fitted garments to create a dynamic and interesting shape.4. Accessories: Look for unique and unexpected accessories that complement the outfit. This could include jewelry, bags, hats, scarves, or even cultural artifacts.5. Hair and Makeup: Evaluate the hairstyle and makeup choices of the crossbreed girl. These elements can add an additional layer of cultural influence to the overall look.Section 3: Analyzing Crossbreed Girl OutfitsOnce you have evaluated a crossbreed girl outfit, it's time to analyze it in more depth. Consider the following questions:1. What cultures are represented in the outfit? How are these cultural influences integrated into the overall look?2. How does the color palette contribute to the overall vibe of the outfit? Does it create a sense of harmony or contrast?3. What message or story does the outfit convey? How does it challenge traditional ideas of fashion and identity?4. How does the silhouette and fit of the garments enhance the overall look? Does it create a sense of movement or drama?5. How do the accessories, hair, and makeup contribute to the overall aesthetic of the outfit? Do they enhance the cultural influences present?ConclusionCrossbreed girl style is a bold and innovative fashion trend that allows individuals to express their creativity and individuality in a unique way. By carefully evaluating and analyzing crossbreed girl outfits, you can gain a deeper appreciation for the cultural influences and creative choices that go into creating these eye-catching looks. Next time you spot a crossbreed girl on the street, take a moment to consider the thought and effort that went into her outfit, and appreciate the fusion of culturesand styles that make crossbreed girl fashion so exciting and dynamic.。

中文摘要世纪末东西方两位最杰出的...

中西文化互观下的《牡丹亭》与《罗密欧与朱丽ｎ－ｔ１》
引言和文献综述
中国是一个戏曲大国，几千年的文化戏剧传统孕育了无数姿态万千、生机勃勃的表演样式，而昆曲无疑是中国戏剧皇冠上的一颗璀璨的祖母绿。２００１年昆曲成为中国第一批被联合国教科文组织认定的
“人类口述和非物质遗产代表作”绝非偶然。如果细细研读中国文化史与戏剧史，我们就一定会不由自主的被
一是关于女主人公人物性格比较的文本细读研究。从创作主体视角切入，谈女性形象。通过杜丽娘与朱丽叶的身世遭遇、反抗之路来比较人物的性格异同、人格魅力与反抗精神，此类研究成果较多。如邹自强的《丽娘何如朱丽叶不让莎翁有故衬——＜牡丹亭＞与＜罗密欧与朱丽叶＞之比较》认为两位人物均有着强烈的叛逆性，但相较而言杜丽娘的抗争带有浓厚的妥协色彩。蓝凡的《宗教生命：作为莎士比亚历史“他者”参照的汤显祖——杜丽娘与朱丽叶的性爱世界》，认为汤显祖对佛学禅宗和道家思想的笃信，而莎士比亚作品中基督信仰的无处不在，这些影响了杜丽娘与朱丽叶的性爱世界，一个是文人之情，一个是世俗情欲。郑维萍在《＜牡丹亭＞与＜罗密欧与朱丽叶＞戏剧冲突之比较》一文中，探讨了两位女主人公不同的思维方式、价值取
昆曲所吸引，这种关注是超越个人好恶的。昆曲的历史源远流长，在明清时期曾引发过中国社会各阶层整体的观演狂潮，让整个中华民族痴迷了两个多世纪（明代万历年间至清代乾嘉之交）。它曾是华夏民族最重要的审美对象之一，此间情状恰似古希腊的悲剧史诗与莎士比亚的剧作之于西方文化。虽说在现今社会，与其他戏曲样式一样，昆曲不可避免的衰落了，但这种代表东方韵味的艺术样式包含着我们这个民族的很多精神层面的密码。研究它，品味它，我们可以从中找寻今天的我们业已失去的很多文化基因。那悠远的羌笛，那清越的三弦，那软玉般的昆腔，一声声，一阵阵，一直回响在华夏文明的天空—— 虽然那声音很柔、很轻，但从未也不应该为我们所遗忘。

语言学--unit9语言与文学Language and Literature

Dictionary definition
The world is like a stage.
The name of a
part of a
objective
to
synecdoche refer to the
whole thing.
simile Figurative language metapher
(4)
To demonstrate technical skill, and for intellectual pleasure
(5)
For emphasis or contrast
(6)
Onomatopoeia
9.3 The Language in Poety 9.3.6 How to Analyse Poetry
Ex.9-15
Trochee and palm to palm is holy palmer's kiss
Ex.9-16
Anapest Willows whiten, aspens quiver
Ex.9-17
Dactyl Without cause be he pleased, without cause be he cross
(1)
Information about the poem
(2)
The way the poem is structured
lingustics chapter 9.4 The Language
in Fiction
9.4.1 Fictional Prose and Point of View
(1) I-narrators (2)Third-person narrators (3)Schema-oriented language (4)Given vs New information (5)Deixis

OSHA现场作业手册说明书

DIRECTIVE NUMBER: CPL 02-00-150 EFFECTIVE DATE: April 22, 2011 SUBJECT: Field Operations Manual (FOM)ABSTRACTPurpose: This instruction cancels and replaces OSHA Instruction CPL 02-00-148,Field Operations Manual (FOM), issued November 9, 2009, whichreplaced the September 26, 1994 Instruction that implemented the FieldInspection Reference Manual (FIRM). The FOM is a revision of OSHA’senforcement policies and procedures manual that provides the field officesa reference document for identifying the responsibilities associated withthe majority of their inspection duties. This Instruction also cancels OSHAInstruction FAP 01-00-003 Federal Agency Safety and Health Programs,May 17, 1996 and Chapter 13 of OSHA Instruction CPL 02-00-045,Revised Field Operations Manual, June 15, 1989.Scope: OSHA-wide.References: Title 29 Code of Federal Regulations §1903.6, Advance Notice ofInspections; 29 Code of Federal Regulations §1903.14, Policy RegardingEmployee Rescue Activities; 29 Code of Federal Regulations §1903.19,Abatement Verification; 29 Code of Federal Regulations §1904.39,Reporting Fatalities and Multiple Hospitalizations to OSHA; and Housingfor Agricultural Workers: Final Rule, Federal Register, March 4, 1980 (45FR 14180).Cancellations: OSHA Instruction CPL 02-00-148, Field Operations Manual, November9, 2009.OSHA Instruction FAP 01-00-003, Federal Agency Safety and HealthPrograms, May 17, 1996.Chapter 13 of OSHA Instruction CPL 02-00-045, Revised FieldOperations Manual, June 15, 1989.State Impact: Notice of Intent and Adoption required. See paragraph VI.Action Offices: National, Regional, and Area OfficesOriginating Office: Directorate of Enforcement Programs Contact: Directorate of Enforcement ProgramsOffice of General Industry Enforcement200 Constitution Avenue, NW, N3 119Washington, DC 20210202-693-1850By and Under the Authority ofDavid Michaels, PhD, MPHAssistant SecretaryExecutive SummaryThis instruction cancels and replaces OSHA Instruction CPL 02-00-148, Field Operations Manual (FOM), issued November 9, 2009. The one remaining part of the prior Field Operations Manual, the chapter on Disclosure, will be added at a later date. This Instruction also cancels OSHA Instruction FAP 01-00-003 Federal Agency Safety and Health Programs, May 17, 1996 and Chapter 13 of OSHA Instruction CPL 02-00-045, Revised Field Operations Manual, June 15, 1989. This Instruction constitutes OSHA’s general enforcement policies and procedures manual for use by the field offices in conducting inspections, issuing citations and proposing penalties.Significant Changes∙A new Table of Contents for the entire FOM is added.∙ A new References section for the entire FOM is added∙ A new Cancellations section for the entire FOM is added.∙Adds a Maritime Industry Sector to Section III of Chapter 10, Industry Sectors.∙Revises sections referring to the Enhanced Enforcement Program (EEP) replacing the information with the Severe Violator Enforcement Program (SVEP).∙Adds Chapter 13, Federal Agency Field Activities.∙Cancels OSHA Instruction FAP 01-00-003, Federal Agency Safety and Health Programs, May 17, 1996.DisclaimerThis manual is intended to provide instruction regarding some of the internal operations of the Occupational Safety and Health Administration (OSHA), and is solely for the benefit of the Government. No duties, rights, or benefits, substantive or procedural, are created or implied by this manual. The contents of this manual are not enforceable by any person or entity against the Department of Labor or the United States. Statements which reflect current Occupational Safety and Health Review Commission or court precedents do not necessarily indicate acquiescence with those precedents.Table of ContentsCHAPTER 1INTRODUCTIONI.PURPOSE. ........................................................................................................... 1-1 II.SCOPE. ................................................................................................................ 1-1 III.REFERENCES .................................................................................................... 1-1 IV.CANCELLATIONS............................................................................................. 1-8 V. ACTION INFORMATION ................................................................................. 1-8A.R ESPONSIBLE O FFICE.......................................................................................................................................... 1-8B.A CTION O FFICES. .................................................................................................................... 1-8C. I NFORMATION O FFICES............................................................................................................ 1-8 VI. STATE IMPACT. ................................................................................................ 1-8 VII.SIGNIFICANT CHANGES. ............................................................................... 1-9 VIII.BACKGROUND. ................................................................................................. 1-9 IX. DEFINITIONS AND TERMINOLOGY. ........................................................ 1-10A.T HE A CT................................................................................................................................................................. 1-10B. C OMPLIANCE S AFETY AND H EALTH O FFICER (CSHO). ...........................................................1-10B.H E/S HE AND H IS/H ERS ..................................................................................................................................... 1-10C.P ROFESSIONAL J UDGMENT............................................................................................................................... 1-10E. W ORKPLACE AND W ORKSITE ......................................................................................................................... 1-10CHAPTER 2PROGRAM PLANNINGI.INTRODUCTION ............................................................................................... 2-1 II.AREA OFFICE RESPONSIBILITIES. .............................................................. 2-1A.P ROVIDING A SSISTANCE TO S MALL E MPLOYERS. ...................................................................................... 2-1B.A REA O FFICE O UTREACH P ROGRAM. ............................................................................................................. 2-1C. R ESPONDING TO R EQUESTS FOR A SSISTANCE. ............................................................................................ 2-2 III. OSHA COOPERATIVE PROGRAMS OVERVIEW. ...................................... 2-2A.V OLUNTARY P ROTECTION P ROGRAM (VPP). ........................................................................... 2-2B.O NSITE C ONSULTATION P ROGRAM. ................................................................................................................ 2-2C.S TRATEGIC P ARTNERSHIPS................................................................................................................................. 2-3D.A LLIANCE P ROGRAM ........................................................................................................................................... 2-3 IV. ENFORCEMENT PROGRAM SCHEDULING. ................................................ 2-4A.G ENERAL ................................................................................................................................................................. 2-4B.I NSPECTION P RIORITY C RITERIA. ..................................................................................................................... 2-4C.E FFECT OF C ONTEST ............................................................................................................................................ 2-5D.E NFORCEMENT E XEMPTIONS AND L IMITATIONS. ....................................................................................... 2-6E.P REEMPTION BY A NOTHER F EDERAL A GENCY ........................................................................................... 2-6F.U NITED S TATES P OSTAL S ERVICE. .................................................................................................................. 2-7G.H OME-B ASED W ORKSITES. ................................................................................................................................ 2-8H.I NSPECTION/I NVESTIGATION T YPES. ............................................................................................................... 2-8 V.UNPROGRAMMED ACTIVITY – HAZARD EVALUATION AND INSPECTION SCHEDULING ............................................................................ 2-9 VI.PROGRAMMED INSPECTIONS. ................................................................... 2-10A.S ITE-S PECIFIC T ARGETING (SST) P ROGRAM. ............................................................................................. 2-10B.S CHEDULING FOR C ONSTRUCTION I NSPECTIONS. ..................................................................................... 2-10C.S CHEDULING FOR M ARITIME I NSPECTIONS. ............................................................................. 2-11D.S PECIAL E MPHASIS P ROGRAMS (SEP S). ................................................................................... 2-12E.N ATIONAL E MPHASIS P ROGRAMS (NEP S) ............................................................................... 2-13F.L OCAL E MPHASIS P ROGRAMS (LEP S) AND R EGIONAL E MPHASIS P ROGRAMS (REP S) ............ 2-13G.O THER S PECIAL P ROGRAMS. ............................................................................................................................ 2-13H.I NSPECTION S CHEDULING AND I NTERFACE WITH C OOPERATIVE P ROGRAM P ARTICIPANTS ....... 2-13CHAPTER 3INSPECTION PROCEDURESI.INSPECTION PREPARATION. .......................................................................... 3-1 II.INSPECTION PLANNING. .................................................................................. 3-1A.R EVIEW OF I NSPECTION H ISTORY .................................................................................................................... 3-1B.R EVIEW OF C OOPERATIVE P ROGRAM P ARTICIPATION .............................................................................. 3-1C.OSHA D ATA I NITIATIVE (ODI) D ATA R EVIEW .......................................................................................... 3-2D.S AFETY AND H EALTH I SSUES R ELATING TO CSHO S.................................................................. 3-2E.A DVANCE N OTICE. ................................................................................................................................................ 3-3F.P RE-I NSPECTION C OMPULSORY P ROCESS ...................................................................................................... 3-5G.P ERSONAL S ECURITY C LEARANCE. ................................................................................................................. 3-5H.E XPERT A SSISTANCE. ........................................................................................................................................... 3-5 III. INSPECTION SCOPE. ......................................................................................... 3-6A.C OMPREHENSIVE ................................................................................................................................................... 3-6B.P ARTIAL. ................................................................................................................................................................... 3-6 IV. CONDUCT OF INSPECTION .............................................................................. 3-6A.T IME OF I NSPECTION............................................................................................................................................. 3-6B.P RESENTING C REDENTIALS. ............................................................................................................................... 3-6C.R EFUSAL TO P ERMIT I NSPECTION AND I NTERFERENCE ............................................................................. 3-7D.E MPLOYEE P ARTICIPATION. ............................................................................................................................... 3-9E.R ELEASE FOR E NTRY ............................................................................................................................................ 3-9F.B ANKRUPT OR O UT OF B USINESS. .................................................................................................................... 3-9G.E MPLOYEE R ESPONSIBILITIES. ................................................................................................. 3-10H.S TRIKE OR L ABOR D ISPUTE ............................................................................................................................. 3-10I. V ARIANCES. .......................................................................................................................................................... 3-11 V. OPENING CONFERENCE. ................................................................................ 3-11A.G ENERAL ................................................................................................................................................................ 3-11B.R EVIEW OF A PPROPRIATION A CT E XEMPTIONS AND L IMITATION. ..................................................... 3-13C.R EVIEW S CREENING FOR P ROCESS S AFETY M ANAGEMENT (PSM) C OVERAGE............................. 3-13D.R EVIEW OF V OLUNTARY C OMPLIANCE P ROGRAMS. ................................................................................ 3-14E.D ISRUPTIVE C ONDUCT. ...................................................................................................................................... 3-15F.C LASSIFIED A REAS ............................................................................................................................................. 3-16VI. REVIEW OF RECORDS. ................................................................................... 3-16A.I NJURY AND I LLNESS R ECORDS...................................................................................................................... 3-16B.R ECORDING C RITERIA. ...................................................................................................................................... 3-18C. R ECORDKEEPING D EFICIENCIES. .................................................................................................................. 3-18 VII. WALKAROUND INSPECTION. ....................................................................... 3-19A.W ALKAROUND R EPRESENTATIVES ............................................................................................................... 3-19B.E VALUATION OF S AFETY AND H EALTH M ANAGEMENT S YSTEM. ....................................................... 3-20C.R ECORD A LL F ACTS P ERTINENT TO A V IOLATION. ................................................................................. 3-20D.T ESTIFYING IN H EARINGS ................................................................................................................................ 3-21E.T RADE S ECRETS. ................................................................................................................................................. 3-21F.C OLLECTING S AMPLES. ..................................................................................................................................... 3-22G.P HOTOGRAPHS AND V IDEOTAPES.................................................................................................................. 3-22H.V IOLATIONS OF O THER L AWS. ....................................................................................................................... 3-23I.I NTERVIEWS OF N ON-M ANAGERIAL E MPLOYEES .................................................................................... 3-23J.M ULTI-E MPLOYER W ORKSITES ..................................................................................................................... 3-27 K.A DMINISTRATIVE S UBPOENA.......................................................................................................................... 3-27 L.E MPLOYER A BATEMENT A SSISTANCE. ........................................................................................................ 3-27 VIII. CLOSING CONFERENCE. .............................................................................. 3-28A.P ARTICIPANTS. ..................................................................................................................................................... 3-28B.D ISCUSSION I TEMS. ............................................................................................................................................ 3-28C.A DVICE TO A TTENDEES .................................................................................................................................... 3-29D.P ENALTIES............................................................................................................................................................. 3-30E.F EASIBLE A DMINISTRATIVE, W ORK P RACTICE AND E NGINEERING C ONTROLS. ............................ 3-30F.R EDUCING E MPLOYEE E XPOSURE. ................................................................................................................ 3-32G.A BATEMENT V ERIFICATION. ........................................................................................................................... 3-32H.E MPLOYEE D ISCRIMINATION .......................................................................................................................... 3-33 IX. SPECIAL INSPECTION PROCEDURES. ...................................................... 3-33A.F OLLOW-UP AND M ONITORING I NSPECTIONS............................................................................................ 3-33B.C ONSTRUCTION I NSPECTIONS ......................................................................................................................... 3-34C. F EDERAL A GENCY I NSPECTIONS. ................................................................................................................. 3-35CHAPTER 4VIOLATIONSI. BASIS OF VIOLATIONS ..................................................................................... 4-1A.S TANDARDS AND R EGULATIONS. .................................................................................................................... 4-1B.E MPLOYEE E XPOSURE. ........................................................................................................................................ 4-3C.R EGULATORY R EQUIREMENTS. ........................................................................................................................ 4-6D.H AZARD C OMMUNICATION. .............................................................................................................................. 4-6E. E MPLOYER/E MPLOYEE R ESPONSIBILITIES ................................................................................................... 4-6 II. SERIOUS VIOLATIONS. .................................................................................... 4-8A.S ECTION 17(K). ......................................................................................................................... 4-8B.E STABLISHING S ERIOUS V IOLATIONS ............................................................................................................ 4-8C. F OUR S TEPS TO BE D OCUMENTED. ................................................................................................................... 4-8 III. GENERAL DUTY REQUIREMENTS ............................................................. 4-14A.E VALUATION OF G ENERAL D UTY R EQUIREMENTS ................................................................................. 4-14B.E LEMENTS OF A G ENERAL D UTY R EQUIREMENT V IOLATION.............................................................. 4-14C. U SE OF THE G ENERAL D UTY C LAUSE ........................................................................................................ 4-23D.L IMITATIONS OF U SE OF THE G ENERAL D UTY C LAUSE. ..............................................................E.C LASSIFICATION OF V IOLATIONS C ITED U NDER THE G ENERAL D UTY C LAUSE. ..................F. P ROCEDURES FOR I MPLEMENTATION OF S ECTION 5(A)(1) E NFORCEMENT ............................ 4-25 4-27 4-27IV.OTHER-THAN-SERIOUS VIOLATIONS ............................................... 4-28 V.WILLFUL VIOLATIONS. ......................................................................... 4-28A.I NTENTIONAL D ISREGARD V IOLATIONS. ..........................................................................................4-28B.P LAIN I NDIFFERENCE V IOLATIONS. ...................................................................................................4-29 VI. CRIMINAL/WILLFUL VIOLATIONS. ................................................... 4-30A.A REA D IRECTOR C OORDINATION ....................................................................................................... 4-31B.C RITERIA FOR I NVESTIGATING P OSSIBLE C RIMINAL/W ILLFUL V IOLATIONS ........................ 4-31C. W ILLFUL V IOLATIONS R ELATED TO A F ATALITY .......................................................................... 4-32 VII. REPEATED VIOLATIONS. ...................................................................... 4-32A.F EDERAL AND S TATE P LAN V IOLATIONS. ........................................................................................4-32B.I DENTICAL S TANDARDS. .......................................................................................................................4-32C.D IFFERENT S TANDARDS. .......................................................................................................................4-33D.O BTAINING I NSPECTION H ISTORY. .....................................................................................................4-33E.T IME L IMITATIONS..................................................................................................................................4-34F.R EPEATED V. F AILURE TO A BATE....................................................................................................... 4-34G. A REA D IRECTOR R ESPONSIBILITIES. .............................................................................. 4-35 VIII. DE MINIMIS CONDITIONS. ................................................................... 4-36A.C RITERIA ................................................................................................................................................... 4-36B.P ROFESSIONAL J UDGMENT. ..................................................................................................................4-37C. A REA D IRECTOR R ESPONSIBILITIES. .............................................................................. 4-37 IX. CITING IN THE ALTERNATIVE ............................................................ 4-37 X. COMBINING AND GROUPING VIOLATIONS. ................................... 4-37A.C OMBINING. ..............................................................................................................................................4-37B.G ROUPING. ................................................................................................................................................4-38C. W HEN N OT TO G ROUP OR C OMBINE. ................................................................................................4-38 XI. HEALTH STANDARD VIOLATIONS ....................................................... 4-39A.C ITATION OF V ENTILATION S TANDARDS ......................................................................................... 4-39B.V IOLATIONS OF THE N OISE S TANDARD. ...........................................................................................4-40 XII. VIOLATIONS OF THE RESPIRATORY PROTECTION STANDARD(§1910.134). ....................................................................................................... XIII. VIOLATIONS OF AIR CONTAMINANT STANDARDS (§1910.1000) ... 4-43 4-43A.R EQUIREMENTS UNDER THE STANDARD: .................................................................................................. 4-43B.C LASSIFICATION OF V IOLATIONS OF A IR C ONTAMINANT S TANDARDS. ......................................... 4-43 XIV. CITING IMPROPER PERSONAL HYGIENE PRACTICES. ................... 4-45A.I NGESTION H AZARDS. .................................................................................................................................... 4-45B.A BSORPTION H AZARDS. ................................................................................................................................ 4-46C.W IPE S AMPLING. ............................................................................................................................................. 4-46D.C ITATION P OLICY ............................................................................................................................................ 4-46 XV. BIOLOGICAL MONITORING. ...................................................................... 4-47CHAPTER 5CASE FILE PREPARATION AND DOCUMENTATIONI.INTRODUCTION ............................................................................................... 5-1 II.INSPECTION CONDUCTED, CITATIONS BEING ISSUED. .................... 5-1A.OSHA-1 ................................................................................................................................... 5-1B.OSHA-1A. ............................................................................................................................... 5-1C. OSHA-1B. ................................................................................................................................ 5-2 III.INSPECTION CONDUCTED BUT NO CITATIONS ISSUED .................... 5-5 IV.NO INSPECTION ............................................................................................... 5-5 V. HEALTH INSPECTIONS. ................................................................................. 5-6A.D OCUMENT P OTENTIAL E XPOSURE. ............................................................................................................... 5-6B.E MPLOYER’S O CCUPATIONAL S AFETY AND H EALTH S YSTEM. ............................................................. 5-6 VI. AFFIRMATIVE DEFENSES............................................................................. 5-8A.B URDEN OF P ROOF. .............................................................................................................................................. 5-8B.E XPLANATIONS. ..................................................................................................................................................... 5-8 VII. INTERVIEW STATEMENTS. ........................................................................ 5-10A.G ENERALLY. ......................................................................................................................................................... 5-10B.CSHO S SHALL OBTAIN WRITTEN STATEMENTS WHEN: .......................................................................... 5-10C.L ANGUAGE AND W ORDING OF S TATEMENT. ............................................................................................. 5-11D.R EFUSAL TO S IGN S TATEMENT ...................................................................................................................... 5-11E.V IDEO AND A UDIOTAPED S TATEMENTS. ..................................................................................................... 5-11F.A DMINISTRATIVE D EPOSITIONS. .............................................................................................5-11 VIII. PAPERWORK AND WRITTEN PROGRAM REQUIREMENTS. .......... 5-12 IX.GUIDELINES FOR CASE FILE DOCUMENTATION FOR USE WITH VIDEOTAPES AND AUDIOTAPES .............................................................. 5-12 X.CASE FILE ACTIVITY DIARY SHEET. ..................................................... 5-12 XI. CITATIONS. ..................................................................................................... 5-12A.S TATUTE OF L IMITATIONS. .............................................................................................................................. 5-13B.I SSUING C ITATIONS. ........................................................................................................................................... 5-13C.A MENDING/W ITHDRAWING C ITATIONS AND N OTIFICATION OF P ENALTIES. .................................. 5-13D.P ROCEDURES FOR A MENDING OR W ITHDRAWING C ITATIONS ............................................................ 5-14 XII. INSPECTION RECORDS. ............................................................................... 5-15A.G ENERALLY. ......................................................................................................................................................... 5-15B.R ELEASE OF I NSPECTION I NFORMATION ..................................................................................................... 5-15C. C LASSIFIED AND T RADE S ECRET I NFORMATION ...................................................................................... 5-16。

美国文学简史第三章

3.the closing of American frontier
II. Characteristics
1.truthful description of life
2.typical character under typical circumstance
3.objective rather than idealized, close observation and investigation of life
j.Truth is the highest beauty, but it includes the view that morality penetrates all things.
k. With regard to literary criticism, Howells felt that the literary critic should not try to impose arbitrary or subjective evaluations on books but should follow the detached scientist in accurate description, interpretation, and classification.
a. The aim of novel: represent life
b. Common, even ugly side of life
c. Social function of art
d. Avoiding omniscient point of view
（4）al analysis, forefather of stream of consciousness

Aesthetics and the Philosophy of Art

Objects and Models: Artwork (As if) (4)
Ex. If we find a rock on a hiking trail, we can appreciate it the same if we were to take it home and put it on display.
=
According to the object model, these rocks should be appreciated equally despite one having a natural environment.
Aesthetics and the Philosophy of Art Chapter Two - Environmental Aesthetics: Natural Beauty Robert Stecker
-When we think about nature, beauty is the first thing to come to mind
*The environment does not have anything to do with this particular object’s appreciation.
Objects and Models: Landscape (3)
The Landscape Model: This model suggests we should focus (from a fixed point) on a view, rather than a particular object. -One must take themselves out of what is viewed -Sometimes (not required) creates “scenic turnouts”. This landscape model does not ask us to appreciate landscapes as if they were landscape paintings (the view Carlson rejects).

美国文学chapter_3

Exit
Forward
Some Important Ideas about this period
1. Social and political changes: Andrew Jackson‘s unsuccessful bid for presidency in 1824, when he won the plurality of votes but lost to John Quincy Adams when the election was decided in the House of Representatives. Jackson, a man of common beginnings, was the first candidate of the new states. In 1828 election, Jackson convincingly defeated Adams bringing to an end the domination of the eastern establishment. 2. The beginning of industrial and technological developments: key markers were the introduction of steamboats, spinning mills, Eli Whitney‘s cotton gin, the clipper ships, railroad and telegraph. 3. ―The success of northern industry made slavery appear anomalous, and to the free labor of the North slavery became…repugnant.‖

人们对艺术的理解英语作文

Art,as a form of expression,has been a significant part of human culture for centuries.It is a universal language that transcends geographical boundaries and speaks to the heart of the beholder.Peoples understanding of art varies greatly,influenced by factors such as personal experiences,cultural background,and education.1.Personal Experiences:An individuals personal experiences play a crucial role in shaping their perception of art.For instance,someone who has experienced loss may find solace in a painting that depicts sorrow,while another person might be moved by the vibrant colors and energy of an abstract piece.2.Cultural Background:Art is deeply rooted in culture.People from different cultures have unique artistic traditions and styles that reflect their history,beliefs,and values.For example,traditional Chinese paintings emphasize harmony and balance,while African art often features bold patterns and bright colors that represent the vibrancy of life.cation:Formal education in art history and theory can greatly influence ones understanding of art.Learning about different art movements,techniques,and the intentions of artists can provide a deeper appreciation for the work.It can also help to contextualize art within its historical and social setting.4.Emotional Connection:Art often evokes an emotional response.People may be drawn to a piece of art because it resonates with their feelings or memories.This emotional connection can be a powerful way to understand and appreciate art.5.Intellectual Engagement:Some people approach art from an intellectual standpoint, analyzing the composition,technique,and symbolism within a piece.This type of engagement can lead to a deeper understanding of the artists intentions and the broader themes being explored.6.Aesthetic Appreciation:Aesthetic appreciation is a fundamental aspect of understanding art.People may be attracted to the beauty,symmetry,or color palette of a piece,which can lead to a greater appreciation for the artists skill and vision.7.Social Context:Art is often a reflection of the society in which it is created. Understanding the social context can provide insight into the themes and messages conveyed by the art.For example,during the Renaissance,art was used to express the humanist ideals of the time.8.Technological Influence:With the advent of new technologies,the way art is created and perceived has evolved.Digital art,for instance,offers new possibilities for creativityand interaction,which can change how people understand and engage with art.9.Interdisciplinary Approach:Art can be understood through an interdisciplinary lens, combining elements from psychology,sociology,and other fields.This holistic approach can provide a more comprehensive understanding of the role and impact of art.10.Personal Growth:Engaging with art can lead to personal growth and selfdiscovery. As people reflect on the art they encounter,they may gain new insights into their own values,beliefs,and emotions.In conclusion,the understanding of art is a multifaceted and deeply personal experience. It is shaped by a variety of factors and can lead to a rich and nuanced appreciation of the creative expressions that enrich our lives.。

通感的认知究

内容提要本文研究了通感隐喻这一现象。

文章首先简要的概括了对强通感与弱通感（即通感隐喻）的多学科研究，讨论了强弱两种通感之间的关系，得出：通感隐喻（弱通感）具有～定的神经和心理基础。

接着，文章运用莱考夫与约翰逊的体验哲学理论、格莱迪的基本隐喻理论和弗科尼亚与特纳的概念整合理论，探究通感隐喻的内在本质。

文章揭示出：（１）通感隐喻是基于体验的，包括神经的与基本经验的体验性；（２）它们属于基本隐喻范畴：（３）其意义建构过程是动态的概念整合过程。

关键词：通感；通感隐喻；认知语言学：体验哲学理论；基本隐喻理论；概念整合理论ＡｂｓｔｒａｃｔＴｈｅ廿］【ｅｓｉｓｓｔｕｄｉｅｓｔ１１ｅｐｈｅｎｏｍｅｎｏｎＯｆｓｙＩｍｓｔｈｅｔｉｃｍｃｔａｐｈｏｒｓｗｈｉｃｈｅｎｔａｉｌ洳ｍ３ｔｅＸ鑫ｍ．ｍｅｓＭ以ｙ也ｅｔｒａｎｓｆｅｒｓｂｅｔｗｅｅｎｐｅ托ｅ弘工ａｉｄｏｍｇｂ．，ｒｈｅｍｕｌｔｉｄｉｓｃｉｐｌｉｎａｒｙｓｔｕｄｙｏｎｓｔｒｏｎｇｓｙｎａｅｓｔｈｅｓｉａ（ｒｅｆｂｒｒｉｎｇｔｏ吐ｌｅｒｅａｌｃｏ－ｓｅｎｓａｔｉｏｎ）ａｎｄｗｃａｌ（ｓ”ａｅ蚰ｅｓｉａ（ｒｅｆ毫ｒｒｉｎｇｔｏｔｈｅｉｍｅｒｓｅｎｓｏｒｙａｓｓｏｃｉａｔｉｏｎｓ），ａｔｌｄｄｉｓｃｕｓｓｅｓ也ｅｉｒｒｅｌａｔｉｏｎｓｈｉｐｓ．Ｆｒｏｍ也ｅｄｉｓｃｕｓｓｉｏｎ，ｉｔｉｓｃｏｎｃｌｕｄｅｄｔｈａｔｓｙｎａｅｓ也ｅｔｉｃｍｅｔ８ｐｈｏｒｓ（ｗｈｉｃｈｉｓａｎｏｔｈｅｒｎ锄ｅｆｏｒｗｅａｋｓｙｎａｅｓｍｅｓｉａ）ｍａｙｈａｖｅｓｏｍｅｎｅｌｌｒａｌａｎｄｐｓｙｃｈｏｌｏｇｉｃａｌｕｎｄｅｒｐｉｒｕｌｉｎｇｓ．Ｔｈｅｎ，ｄｒａｗｉｎｇｏｎｔｈｒｅｅｍ∞ｒｉｅｓｉ１１ｃｏｇｌｌｉｔｉＶｅｌｉ力ｇＩｌｉｓｔｉｃｓ，ｎ锄ｅｌｙＬａｋｏｆｒａｎｄＪｏｈｎｓｏｎ’ｓＥｍｂｏｄｉｅｄ蹦ｌｏｓｏｐｈ孔‰ｄｙ’ｓＰｒｉｆ啮ｒｙＭｅｔａｐｈｏｒｎｅｏ吼觚ｄＦａｕｃｏｎｎｉｅｒａｎｄｎ哪ｅｒ’ｓＢｌｅｎｄｉｎｇＴｈｅｏ观ｔｈｃａｕｔｈｏｒｅｎｑｕｉ坤ｓｉｎｔｏ也ｅｎａｔｕｒｅｏｆｓｙｎａｅｓｍｅｌｊｃｍｅｔａｐｈｏｒｓ柚ｄｃｏｍｅｓｔｏｔｈＩ∞ｉｍｐｏｎａｎｔｃｏＩｔｃｌｕｓｉｏｎｓａｓｆｏｌｌｏｗｓ．（１）ｓｙｎａｅｓｔｈｅ＆ｍｅ乜ｐｈｏｒｓａｒｅｎ黜ａ｝姆斑ｐｈｅｎｏｍ嘲Ｉｏｇｉｃａｌｌｙ姗ｂｏｄｉｅｄ．（２）ＴｈｅｙａｒｅＰｒｉｍａｒｙＭ曲巾ｈｏｒｓ．（３）Ｔｈｅｉｆｐｒｏｃｅｓｓｅｓｏｆｍｅａｎｉｎｇｃｏｎｓｔｎ】ｃｔ至ｏｎａｒｅｄｙｎ啪ｉｃｐｒｏｃｅｓｓｅｓｏｆｃＯｎｃｅｐｔｕａｌｉｎｔｅ掣ａｔｉｏｎ．Ｋｅ）ｗｏｒｄｓ：Ｓｙｎａｅｓｍｅｓｉａ，ｓｙｔｌａｅｓｔｈｅｔｉｃｍ啦ｐｈｏｒｓ，ｃｏｇＩＩｉｔｉｗｌｉｎ刚ｓｔｉｃＳ，ｔｈｅＥｍｂｏｄｉｅｄＰｈｉＩｏｓｏｐｈｙ，龇ＭｍａｒｙＭｅ协ｐｈｏｒ１１１ｅ０Ⅸ恤ＢｌｅｎｄｉｎｇＴｈｅｏｒｙＡｃｋｎｏｗｌｅｄｇｅｍｅｎｔｓＩｎｍｅｃｏ、ｌｒｓｅｏｆｗｒｉｔｉｎｇ也ｉｓｔｈｅｓｉｓ，ＩｈａｖｅｒｅｃｅｉＶｅｄａｔＴｅｍｅｎｄｏｕｓａｍｏｕｎｔｏｆｈｅｌｐａｎｄｓｕｐｐｏｒｔ，ａｎｄ１ｗｏｕｌｄｌｉｋｅｔｏｔａｌ【ｅⅡｌｅｏｐｐｏｎｕｎｉｔｙｔｏｅｘｐｒｅｓｓｍｙｄｅｅｐｅＳｔ伊ａｔｉｔｕｄｅｔｏａ１１ｔｈｏｓｅｗｈｏｈａｖｅｈｅｌｐｅｄｍｅ．ＦｉｒｓｔｏｆａＩＩ，Ｉａｍｇｒｃ砒ＩｙｉｎｄｅｂｔｅｄｔｏＰｍｆｅｓｓｏｒＳｕｘｉａｏｊｕｌｌ，ｍｙｓｕｐｅｒｖｉｓｏＬｗｈｏｈａｓｇｉｖｅｎｍｅａ１０ｔｏｆｅｎｌｉｇｈｔｅｎｉｎｇｉｎｓｔｍｃｔｉｏｎｓｉｎｍｙ血ｒｅｅ—ｙｅａｒｓｔｕｄｙａｎｄｈａｓｈｅｌｐｅｄ衄ｏｕ曲Ⅱ１ｅｖａｒｉｏｕｓｓｔａｇｅｓｏｆｔｈｅｄｅｖｅｌｏｐｍｅｎｔａｒＩｄｒｅＶｉｓｉｏｎｏｆｍｅｔｈｅｓｉｓ．Ｗｉｔｌｌｏｕｔｈｉｓｃｎｃｏｕｒａｇｅｍｅｎｔａｎｄｓｕｐｐ。

许渊冲的“三美”原则视角论中国古典诗歌翻译美学再现—以《天净沙·秋思》四种译本为例

On the Aesthetic Reproduction in Chinese Classical Poetry Translation from the Perspective of Xu Yuanchong’s Three Beauties Principle—Take the Four Versions of AutumnThoughts as Examples姓名：__________班级：__________指导教师：______AbstractAs a special branch of art,poetry translation is similar to literature creation but has its own particular aesthetic principle. The translator should convey the original artistic concept in another language and enable the reader to undergo aesthetic experience. The language in classical Chinese poetry is characterized in implicit meaning, concise expression and rich artistic conception, so the translation of it not only is faithful and equal to the original language, but also reproduces beauty in the target language.Chinese poetry is concise in language, distant un mood, clear in rhythm and strict in the building of verse-lines. It is a shining pearl in Chinese culture, To convey the beauty in the classic Chinese poems and let the English readers tend to have the same appreciation as we Chinese do, translating the classic Chinese poems into English. Therefore, it is of positive and profound significance in terms of translating practice to adopt the translation aesthetics in exploring how to represent in the target language at the original beauty that the classics Chinese poems show from artistic perspective.In addition, it also attempts to make a multi-dimensional study of Mr Xu’s poetry translation techniques, summarize how he represents and displays the beauty and charm of the classic Chinese poems in the English versions that he has made Mr Xu’s translating experiences and three-beauty doctrine, to a large extent and in practical sense, will guide translation beginners to set foot on a correct track and serve as a valuable reference to translation beginners. What’s more, one point of view is put external dissemination of the Chinese classical poetry and greatly promote the international exchange between different culture.Key words: aesthetic reproduction; poetry translation; Autumn Thoughts;Xu Yuanchong; Three Beauties Principle摘要诗歌翻译是一个特殊的艺术门类, 既与文学创作相似, 又有其独特的审美原则。

翻译美学视角下的杨宪益译《野草》研究（可编辑）

单位代码 10475学号 6分类号 H0-0硕士学位论文A Study of Yang Xianyi’s Translation of Wild GrassFrom the Perspective of Translation Aesthetics翻译美学视角下的杨宪益译《野草》研究学科、专业 : 外国语言学及应用语言学研究方向 : 翻译理论与实践申请学位类别 : 文学硕士申请人 : 魏台纳指导教师 : 杨清平教授二?一三年五月A Study of Yang Xianyi's Translation of Wild GrassFrom the Perspective of Translation Aesthetics翻译美学视角下的杨宪益译《野草》研究A Dissertation Submitted tothe Graduate School of Henan Universityin Partial Fulfillment of the Requirementsfor the Degree ofMaster of ArtsByWei TainaSupervisor: Associate Prof. Yang QingpingMay, 2013 AcknowledgmentsAs a conclusion of my three-year study for my Master's degree in Foreign LanguageCollege of Henan University, here, I would like to express my sincerest thanks for theassistance of many people in the preparation of this thesis First, I am greatly indebted to my beloved supervisor Professor Yang Qingping for hisconstructive suggestions and insightful comments in writing the thesis. Under his timelyguidance, I have not only perfected my understanding of some subjects but also acquiredmany valuable experiences. Also, I want to extend my heartfelt thanks to all the respectableprofessors and teachers during my three-year postgraduate studies here, their classes broadenmy vision on the understanding of linguistics and translation studies and improved mylanguage proficiency. In addition, I am very grateful to my friends and fellow classmates whogave me their time and help to discuss with me and work out my problems through all thecourse of this thesis. Lastly, my gratitude would go to my beloved family. Through all theseyears they have given me caring considerations and strong supportObviously, this thesis cannot be successfully made without the help of all those people inthe above-mentioned. However, it's I who should be responsible for all the mistakes in itABSTRACTFor thousands of years, translators, scholars and writers in China and western countrieshave never stopped their study and debate about the relationship between translation andaesthetics. It’s their persistence that accelerates the combination of translation and aestheticsThe theory of translation aesthetics is first put forward in 1970s. From then on, it began toattract people’s eyes from the academic world. Translation aesthetics opens up a newperspective for the study on literary translation, in particularly poetry translation and prosetranslation. However, until 1995 when Professor Liu Miqing published his masterpiece AnIntroduction to Translation Aesthetics the basic framework of the theory of translationaesthetics is firstly built up in a systematic way. Based on the modern aesthetic principles andby applying the traditional aesthetic thoughts on translation to the translation practice, Liuproposes that the translation aesthetic object is the original text and translation aestheticsubject is the translator himself, elaborately talks about the formal system and non-formalsystem of the translation aesthetic object, and makes an exploration on the aestheticrepresentation in literary translationProse poems Wild Grass is written by Lu Xun who is one of the famous writers in Chinese contemporary literature. It’s not only contained profound ideas but also of greataesthetic value, which attract people’s attention at home and abroad. However, so far, there isnot a monograph on the research of its translation, let alone the systematic study on it fromthe perspective of translation aestheticsThe unique aesthetic feature of Wild Grass determines translation aesthetics is a veryimportant method to evaluate it and its translation. Therefore, as per the aesthetic feature, theauthor discusses about the aesthetic representation of the translated Wild Grass by YangI Xianyi’s from the formal system and non-formal system based on the theory of Liu’s translation aesthetics. Comparing the original text with its translation, the author finds that thetranslator, with his proficiency in source language and target language and hisaccomplishments in literature and art, reproduce the beauty of the source text to the imum,which makes the target readers enjoy as much aesthetic information as original readers. Thetranslation of Wild Grass does not only show the translation talent but also can be consideredas a model in prose poem translationKey word: translation aesthetics, aesthetic representation, Wild Grass, formal system,non-formal systemII 摘要数千年来,东西方的翻译家,理论家和作家从来没有停止过对翻译和美学的探讨。

对艺术的感受的作文英语

Art is a profound and multifaceted experience that transcends mere visual appeal, delving into the depths of human emotion and intellect.It is a universal language that speaks to the soul,evoking a myriad of responses from its audience.Here,I will share my personal reflections on the impact of art on my life and the emotions it stirs within me.1.The Power of Emotion:Art has the unique ability to evoke a spectrum of emotions.A painting or sculpture can make me feel joy,sadness,anger,or even a sense of peace.The way an artist captures a moment or an emotion can resonate deeply,making me feel as though I am part of the narrative being portrayed.2.Inspiration and Creativity:Exposure to different forms of art has been a constant source of inspiration for me.Whether its the bold strokes of a Van Gogh or the intricate patterns of a Persian rug,each piece of art ignites a spark of creativity within me,urging me to express myself through my own creative outlets.3.Cultural Understanding:Art is a window into the worlds diverse cultures.It allows me to appreciate the richness of human expression across different societies and time periods. This understanding fosters a sense of global unity and respect for the unique contributions each culture brings to the human experience.4.Reflection and Introspection:Art often prompts introspection,encouraging me to reflect on my own life and experiences.A piece that seems simple at first glance may, upon closer examination,reveal layers of meaning that resonate with my personal journey.5.Aesthetic Appreciation:The aesthetic beauty of art is undeniable.The harmony of colors,the balance of composition,and the mastery of technique all contribute to a visual feast that is both pleasing and thoughtprovoking.6.The Element of Surprise:Art often surprises me with its innovation and originality.An unexpected twist in a sculpture or an unconventional use of materials can challenge my preconceived notions and broaden my perspective on what art can be.7.Historical Context:Understanding the historical context of a piece of art enriches my appreciation for it.Knowing the circumstances under which an artwork was created helps me to connect with the artists intent and the societal influences that shaped their work.8.The Healing Power of Art:During times of stress or emotional turmoil,art can serve asa form of therapy.The act of creating or simply immersing myself in a piece of art can provide a sense of solace and a means of emotional release.9.The Conversation Starter:Art is a catalyst for conversation.It invites dialogue and the sharing of diverse viewpoints,fostering a sense of community and mutual understanding.10.The Legacy of Art:The enduring nature of art is humbling.Knowing that a painting or sculpture can survive centuries,continuing to inspire and provoke thought,reminds me of the timeless value of human creativity.In conclusion,art is an integral part of my life,enriching my emotional landscape, broadening my horizons,and providing a constant source of inspiration and reflection.It is a testament to the enduring power of human expression and the boundless capacity for creativity that exists within us all.。

2024高考英语新课标1卷阅读解析

文章讲述了兽医William将传统西方疗法与针灸、草药医学等相结合来治疗动物，并取得了良好的疗效。
阅读-B篇
25. Why did Farber decide to try acupuncture on pets?He was trained in it at university. He was inspired by another veterinarian. He benefited from it as a patient. He wanted to save money for pet owners.
D
【解析】词义猜测题。根据第二段前两句“When reading texts of several hundred words or more, learning is generally more successful when it's on paper than onscreen. A large amount of research confirms this finding."可知，大量研究证实，当阅读几百字或更多的文本时，纸质阅读比屏幕阅读的学习效果更好。根据画线短语所在句可知，当实验人员从简单的任务（如找出阅读文章的主旨）转变为需要抽象思维的任务（如从文本中得出推论）时，纸质阅读的好处尤其_______。结合该段第一句以及画线短语前的particularly可知，此处表示纸质阅读的好处在这种情况下尤为明显，即更容易被注意到，故画线部分意为“很明显”
阅读-B篇积累
acupuncture针灸ahead of time领先时代vet-veterinarian兽医holistic medicine整体医学chiropractic按摩疗法herbal medicine草药医学alternative可替代的practice习俗，习惯put sb. To sleep（手术麻醉）使失去知觉indication迹象-indicate

保护狐狸的原因英语作文

Protecting foxes is an important environmental and ecological responsibility that we must take seriously.Here are several reasons why we should protect these beautiful and intelligent creatures:1.Ecological Balance:Foxes play a crucial role in maintaining the balance of ecosystems. As predators,they help control the population of smaller animals,such as rodents,which can be harmful to crops and spread diseases.2.Biodiversity:Biodiversity is essential for a healthy planet.Foxes contribute to this diversity,and their decline could have unforeseen consequences on the environment.3.Cultural Significance:Foxes have been a part of human culture and folklore for centuries.They are often depicted as clever and resourceful animals,and protecting them helps preserve these cultural narratives.4.Adaptability:Foxes are highly adaptable creatures.They can live in various habitats, from forests to urban areas,demonstrating the resilience of nature.5.Scientific Research:Foxes are used in scientific research to study animal behavior, genetics,and ecology.Their protection ensures that valuable data can continue to be collected.6.Aesthetic Appreciation:Foxes are visually appealing animals with unique fur patterns and behaviors.Their presence in the wild contributes to the aesthetic value of natural landscapes.cational Value:Observing and learning about foxes can be an educational experience for people of all ages,fostering a greater appreciation for wildlife and the need for conservation.8.Conservation Efforts:Protecting foxes is part of broader conservation efforts to preserve wildlife and their habitats.It is a testament to our commitment to protecting the natural world.9.Economic Benefits:In some regions,foxes can contribute to the local economy through ecotourism,where visitors come to observe wildlife in its natural habitat.10.Moral Responsibility:As stewards of the Earth,we have a moral responsibility to protect all species,including foxes,from extinction and unnecessary suffering.In conclusion,protecting foxes is not just about preserving a single species it is about safeguarding the intricate web of life that makes our planet vibrant and diverse.By taking steps to protect foxes,we are also taking steps to protect the environment and the countless other species that depend on it.。

中国文化概况(汉英双语)第四章景观

landscapes and humanity landscapes
目录
01
自然景观
Natural Landscapes
第一课
自然景观
中文
The West Lake in Hangzhou, Zhejiang ne of the most famous tourism highlights in China, is located in Hangzhou, Zhejiang Province. It has been known around the world for its unique scenery and cultural heritage for centuries. The landscape of the whole West Lake is mainly composed of three parts: the nearby mountains, the surrounding landscape relics and the West Lake itself. The lake area is about 60 square kilometers with the water area of about 6.5 square kilometers.
第四章
hapter Four
Learning Goals 1. can give a brief introduction to the landscapes introduced in this
chapter 2. to learn the features of the landscapes introduced in this chapter 3. to enjoy the beauty of different landscapes 4. to learn geography terms and expressions related to the natural

看画展有什么好处英语作文

Visiting art exhibitions offers a multitude of benefits that can enrich ones life in various ways. Here are some of the advantages of attending art shows:1. Cultural Enrichment: Art exhibitions provide a window into different cultures and historical periods. They allow you to experience the diversity of human expression and creativity.2. Aesthetic Appreciation: By viewing different styles and techniques, you can develop a deeper appreciation for the beauty and skill involved in creating art.3. Inspiration: Artists often draw inspiration from exhibitions, and even nonartists can find their creative juices flowing after being exposed to new ideas and perspectives.4. Education: Art exhibitions can be educational, offering insights into the lives of artists, the stories behind their works, and the sociopolitical contexts that influenced them.5. Relaxation and Stress Relief: Visiting an art gallery can be a calming experience, providing an escape from the hustle and bustle of daily life and serving as a form of stress relief.6. Cognitive Stimulation: Engaging with art can stimulate the mind, encouraging critical thinking and problemsolving skills as you interpret and analyze the pieces.7. Social Interaction: Art exhibitions are social events where you can meet likeminded individuals, engage in discussions, and share your thoughts and opinions.8. Support for Artists: By attending exhibitions, you are supporting artists and the art community, which can contribute to the growth and sustainability of the arts.9. Enhanced Understanding: Art can help you understand complex issues and emotions that are sometimes difficult to express in words, leading to a more empathetic and nuanced worldview.10. Personal Growth: Reflecting on art can lead to personal growth, as it encourages introspection and selfawareness.In conclusion, art exhibitions are not just about viewing beautiful objects they are about engaging with the human experience in a profound and meaningful way. Whether you are an art enthusiast or a casual visitor, there is always something to gain from immersing yourself in the world of art.。

关于中国美学的英文书籍

关于中国美学的英文书籍（中英文实用版）Title: Aesthetic Exploration: An English Book on Chinese Aesthetics Introduction:In the vast ocean of global literature, the aesthetics of China remains a treasure waiting to be fully discovered. This English book aims to unravel the intricate tapestry of Chinese aesthetics, offering a unique perspective to readers from diverse cultural backgrounds.绪论：在全球文学的浩瀚海洋中，中国美学仍是一座等待被完全发掘的宝库。

这本英文书籍旨在解读中国美学的纷繁复杂，为来自不同文化背景的读者提供独特的视角。

Chapter 1: The Philosophy of HarmonyThe philosophy of harmony, deeply rooted in Chinese culture, finds expression in various art forms. From traditional painting to poetry, this chapter explores the core principles that define Chinese aesthetic values.第一章：和谐之美和谐哲学深深植根于中国文化，通过各种艺术形式表现出来。

从传统绘画到诗歌，本章探讨定义中国美学价值的核心理念。

Chapter 2: The Beauty of SimplicitySimplicity, often misunderstood as plainness, is a profound aspect of Chinese aesthetics. This chapter delves into the concept of \'Less isMore\' and its impact on Chinese art and design.第二章：简约之美简约，常被误解为平淡，是中国美学的深刻方面。