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- 心手相牵共谱华章——宁波市及浙籍企业家帮扶支持黔东南州发展
- 作者：暂无 来源：黔东南日报 年份：2012 文献类型 ：报纸
- 描述： 大爱无疆，无论播撒在哪里，都会结出爱的硕果。 今年是中央决定宁波市对帮扶黔东南州16周年。16年来，我们深切地感受着发生在贵州·黔东南和浙江·宁波两地心手相牵的大爱；16年来，我们看到了浙江省、宁波市广泛动员社会各界力量，使一大批浙籍企业家踏上黔东南大地投资兴业，有力促进了黔东南州经济
- 黄鹤展翅舞翩跹,高山流水谱新曲:蓬勃发展的武汉社会文化事业
- 作者：武汉市文化局 来源：中国文化报 年份：2002 文献类型 ：期刊文章 关键词： 武汉市 文化事业
- 描述：黄鹤展翅舞翩跹,高山流水谱新曲:蓬勃发展的武汉社会文化事业
- 王正祥的“剧场”学说发微——《新订十二律京腔谱》的理论精神
- 作者：谢柏梁 来源：戏剧艺术 年份：1989 文献类型 ：期刊文章 关键词： 十二律 弋阳腔 汤显祖 戏曲理论 京腔 南曲 戏曲史 学说 金圣叹 明末清初
- 描述：中登上了庙堂的圣地……无论在创作上、理论上和声腔的流变上,本时期的戏剧大势都可用风起云
- 情系水务谱华章──逊克县水务局局长党总支书记王英民二三事
- 作者：张云卿 来源：水利天地 年份：2001 文献类型 ：期刊文章 关键词： 逊克县 党总支书记 水务局 县域经济 节水灌溉技术 堤防工程建设 水电站 防洪能力 水电事业 重点工程
- 描述：情系水务谱华章──逊克县水务局局长党总支书记王英民二三事
- 名城盛景谱新曲 万众欢歌奏华章——武汉市“黄鹤之声”歌曲征
- 作者：暂无 来源：湖北宣传 年份：2006 文献类型 ：期刊文章 关键词： 征集活动 武汉市 黄鹤 活动综述 歌曲 电视歌手大赛 构建和谐社会 中国音乐家协会
- 描述：汉，推出了一批反映地域特色人文景观的优秀音乐作品，在市民群众中广为传唱，为塑造武汉新形象、构建和谐社会营造了良好氛围，受到社会各界的普遍好评。[第一段]
- 谱遍佳词难传闺音:浅析晏殊词中的女性描写
- 作者：魏蔚 来源：剑南文学(经典教苑) 年份：2012 文献类型 ：期刊文章 关键词： 晏殊 宋词 女性描写 性别视角
- 描述：北宋初期,骈俪之风盛行,涌现出一大片诸如晏殊等婉约派词人。他们作品中对女性仪表以及情感的描写成为其题材之一大宗。然而男人强作女人词,难免会有因性别差异而带来的视角冲突,这其中既有矛盾,同时也造就了宋词中独特的审美视角与韵味。本文以晏殊为代表,浅析其词作中的女性描写,研究其中所体现的性别视角。
- 「学案」体裁产生的思想背景：从李绂的「陆子学谱」谈起
- 作者：黄进兴 来源：汉学研究 年份：1984 文献类型 ：期刊文章
- 描述： historiography. In this essay, I will try to clarify how Huang's work departs from the older, more traditional styles used by historical analysts. Specifically, the Ming-ju will be examined from the vantage of precendent-in particular, the degree to which it follows the modes of presentation employed by the "intellectual geneaologies" (hsueh-pu or, yuan-yuan lu) and, the extent to which it departs from tradition by transforming content rather than form. For many, the rise of the school of Wang Yang-ming during the sixteenth century signalled not only a revival of the teachings of Lu Hsiang-shan but also rekindled the intense debates of almost forgotten issues previously argued by those who adhered to the school of Chu Hsi and those who held to the theories of Lu Hsiang-shan. From the middle-Ming period onward, however, the conflicts generated by these two schools of thought began to extend well beyond the realm of academic argument. As both Chan Chien and Ku Yen-wu noted, their bickering began to influence such extra-intellectual areas as how the civil-service examinations should be organized. As these conflicts continued to broaden and to deepen, both schools felt impelled to strengthen their philosophical positions and to purify the accounts of their intellectual origins. As such, the construction of an "intellectual geneaology" became a major device used either to undermine the "legitimacy" of the learning of the opposition or to explain how the contending school had, indeed, inherited the transmission of the true Way. Since this sort of approach encouraged a strong sense of faction-spirit, it was only a question of time until it would be deemed biased. And, it was precisely because of the unevenness in evaluating issues exhibited by these compilations that Huang Tsung-hsi felt compelled to compose the "Philosophical Records"--a work at once noteworthy for its ability to bring impartiality and objectivity to historical analysis. Yet, if the "Philosophical Records" is juxtaposed against the "geneaologies" the difference between these two works tends to pale when one realizes that the compositional style employed by both is, essentially, the same. Here, the "Philosophical Records" can hardly be viewed as presenting one with a radical departure from precedent. Rather, Huang's work derives its import from the refreshing non-partisan approach it brings to the analysis of historical issues. Instead of writing intellectual history with a view toward proving various predetermined value-judgments, the "Philosophical Records" uses exposition to explore the multifarious realms that inform "historical reality" in all its variety and fullness.