It is therefore an effective strategy to strengthen internal exchanges in the art world of asia in order to confront collectively against euro - centrism and the hegemonic western culture 加強(qiáng)亞洲藝術(shù)界內(nèi)部的相互交流,是共同面對(duì)歐洲中心主義和西方“強(qiáng)勢(shì)文化”擴(kuò)張的有效策略。
Besides reconsidering the euro - centralism , film studies should put emphasis on the production , circulation , theatrics and reception as well as textuality , intertexuality and sub - texts , etc . , rather than the flow of capital 電影研究除了重新思考歐洲中心主義的問(wèn)題,還應(yīng)該超越追蹤金錢(qián)流動(dòng)的規(guī)則,同時(shí)強(qiáng)調(diào)電影生產(chǎn)、發(fā)行、放映和接受的語(yǔ)境、文本、互文性和潛在文本等方面。
However , there are several problems concerning the " anti - eurocentric " view of china , the change of historical perspectives as to recognition of t he ming - qing history , and the development of the ming - qing economy or not 從有關(guān)“反歐洲中心主義”中國(guó)觀(guān)、認(rèn)識(shí)明清歷史視角的變化以及明清經(jīng)濟(jì)的發(fā)展與不發(fā)展等方面,提出若干研討性的疑難問(wèn)題,以期深化對(duì)明清歷史再認(rèn)識(shí)的討論。
The radical paradigm assumes that mcc challenge to eurocentrism and the rational paradigm to balance the curriculum . the radical paradigm is a so - called mcc under the cover of multiculturalism , actually not a mcc . mcc as the result of conflict and compromise is doomed to swing bet 激進(jìn)范式認(rèn)為,多元文化課程必須向歐洲中心主義、包容所有群體的文化和觀(guān)點(diǎn)的“理性”課程提出挑戰(zhàn),打破以歐洲為中心的課程的不平衡,使黑人種族的成就在所有文明和學(xué)校課程中處于核心地位。
It explores ishiguro ' s open - minded historical views and distinctive literary arts through a probe into his setting of the characters in the novel , his use of metaphors , and his deconstruction of the euro - centralism , thereby revealing people ' s loneliness and misery in the colonial age and the fall of euro - centralism 文章從人物的身份設(shè)定、隱喻的運(yùn)用及對(duì)歐洲中心主義的解構(gòu)三個(gè)方面,展示了石黑一雄開(kāi)闊的歷史胸懷和獨(dú)特的藝術(shù)技巧,反映了殖民時(shí)代的孤獨(dú)與痛苦及歐洲中心主義逐漸瓦解的真實(shí)面貌。